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But right away there’s a clue that things are not as straightforward as they seem: The series is narrated not by Toby Fleishman, but his old college friend, Libby, played by Lizzy Caplan.\u003c/p>\n\u003cp>Caplan likens the series, which is based on \u003ca href=\"https://www.npr.org/2019/06/15/732097604/fleishman-is-in-trouble-a-debut-about-divorce-dating-and-disappearance\">the novel \u003c/a>by showrunner\u003ca href=\"https://www.npr.org/2023/01/11/1147818087/fleishman-is-in-trouble-taffy-brodesser-akner\"> Taffy Brodesser-Akner\u003c/a>, to a Trojan horse: “You think that you’re watching this story about a man getting divorced, figuring out dating apps, and you’re really not watching that story at all.”\u003c/p>\n\u003cp>[aside postid='pop_997']Over the course of the series’ eight episodes, the story shifts its focus, so that by the end, in addition to seeing things from Toby’s point of view, we also hear from Libby and from Toby’s ex-wife Rachel, played by Claire Danes. Caplan says the structuring was deliberate.\u003c/p>\n\u003cp>“It’s a sad truth … which is: I don’t know if this show would have been watched by as many people if it was about a woman [Rachel] going through horrific postpartum depression and anxiety, and another woman [Libby] having sort of a slower burn mid-life crisis,” Caplan says. “I think that immediately turns off a lot of male viewers and honestly, a lot of female viewers as well.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2jyBu4xGeH4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Caplan’s first acting job ever was in the 1999 high school drama, \u003cem>Freaks and Geeks\u003c/em>. More recently she was nominated for an Emmy for her role as a sex researcher in the Showtime series, \u003cem>Masters of Sex.\u003c/em> Libby, her character on \u003cem>Fleishman is in Trouble, \u003c/em>is a former magazine writer who’s become a suburban stay-at-home mom. Libby’s struggling with marriage, motherhood and identity — and mourning the loss of her own youth and potential. Caplan began shooting \u003cem>Fleishman \u003c/em>shortly after becoming a mother herself, which made Libby’s struggles even more resonant.\u003c/p>\n\u003cp>“It was just a lucky break to get to do this show at the dawn of my own motherhood,” she says. “The curtain was being ripped away on a daily basis for me, especially in those first three months, as I think it is for many new mothers.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On being stuck auditioning for the same female archetypes earlier in her career \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13920514']I feel like the roles for women, especially in television, they just get more interesting … as I’ve gotten older. But I know that is certainly not something that everybody feels. I know that I’m lucky to feel that way. But I definitely remember when I was younger and auditioning for a lot of this high school stuff or some early-twenties stuff and the male roles were always better. They always got to do the more fun stuff. And you were sort of relegated to a few different archetypes as a girl, especially back then. It has changed a lot, I see. A lot of the teen shows now, there is a shift, but there was the hot popular girl, there was the nerd. There was, like, the alternative best friend, which was very much my lane for a while. And I was very fortunate to be in some projects that kind of skewered the archetypal nature of those things. But for the most part, the things I auditioned for, certainly I remember asking many times when I was younger, like, “Can I audition for the guy part? Is there any way? There’s no reason why this character has to be a guy. It can be a girl.” And I certainly had nowhere near enough clout in the business for anybody to do anything other than laugh at that request.\u003c/p>\n\u003cp>\u003cstrong>On losing her mother when she was 13 and turning to acting in her grief \u003c/strong>\u003c/p>\n\u003cp>I had no idea how to process my mother’s death. It took me many, many years, but I knew that it gave me a darkness that in my mind was a requirement for being an actor, or the kind of actor I wanted to be. I needed to have this inner pain in order to do it. I remember going to an acting class and auditing it when I was 16 years old, and it was in Hollywood. It was a pretty prestigious acting class and it was full of 100 people in it and it went really late, till 1:00 a.m. And I stayed there and I watched it the whole time. And then I met with the teacher afterwards to see if I could join the class. And she looked at me and asked me how old I was, and I said I was 16. And she said, “You haven’t had any life experience. You can’t be in this class,” and booted me out. And that moment, it’s so crystallized in my brain because I remember feeling like, ‘Oh, no, this is the community that’s supposed to see these things in me — that I do have the depth that is required to be in this class — but you just see some dumb little teenager who hasn’t been through anything.’ When the reality was I had been through what is still the most monumental tragedy of my life.\u003c/p>\n\u003cp>\u003cstrong>On her first role in the series \u003c/strong>\u003cstrong>\u003cem>Freaks and Geeks\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Little did I know that “critically acclaimed and short-lived” would describe the vast majority of my future projects. The experience itself was very overwhelming … just stepping into this completely different universe that I had no idea about. I grew up in L.A., but I had never been on a movie set before. I didn’t know how any of it worked. I didn’t know about marks on the ground and coverage and close ups and how long everything was going to take and hair and makeup and how many outfits I’d have to try on for this one line that I was going to say.\u003c/p>\n\u003cp>I remember … just looking in the mirror for hours, just reciting this one line over and over and over and over again and being terrified and just in love with the idea of this moving village with these hundreds of people all working towards this goal together, but also feeling, again, completely overwhelmed, very shy, not bonding in any way with any of my castmates or anybody. I look back at that experience and it was just honestly pure luck to end up on a show that ended up being so loved and so respected for so many years, because I really did audition for all kinds of nonsense, and just that was the first place that picked me. But it wasn’t a fun experience for me. It was mostly just scary.\u003c/p>\n\u003cp>\u003cstrong>On her break-out role in 2004’s \u003c/strong>\u003cstrong>\u003cem>Mean Girls \u003c/em>\u003c/strong>\u003cstrong>as “alternative” girl Janis Ian\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13921477']All I knew was that it was the funniest script I had ever read and I would do anything to be in it. And then the making of that was so fun. We were in Toronto and young and living in this hotel together, and it was just a wonderful experience. And then it did well when it first opened. And so I thought that meant that I was off to the races. And that is certainly not what happened. I didn’t work after that for a year. I didn’t really understand how I could be in something that seemed to be successful and none of that success seemed to be rubbing off on me. So I did what most actresses in the early aughts did and got a spray tan and dyed my hair blond and just joined a show [\u003cem>Related\u003c/em>] on the WB network. That felt like the antidote.\u003c/p>\n\u003cfigure id=\"attachment_13924497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg\" alt=\"A young woman with pale skin, wearing black eye make-up, a studded bracelet and a sleeveless denim jacket sits at a kitchen table, pen in hand.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The making of that was so fun,” Caplan says of the 2004 film ‘Mean Girls.’ \u003ccite>(Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On relating to the characters in\u003c/strong> \u003cstrong>the 2009 Starz sitcom\u003c/strong>\u003cstrong>\u003cem> Party Down\u003c/em>\u003c/strong>\u003cstrong>, which was about struggling actors working as catering servers\u003c/strong>\u003c/p>\n\u003cp>I remember very vividly catering the \u003cem>Being John Malkovich\u003c/em> premiere party and walking around with a tray of passed apps and none of these people looking me in the eye at all. I was just, like, a tray that moved, and feeling those feelings that all the characters in \u003cem>Party Down\u003c/em> were feeling, which was basically like, “Oh, you don’t know who I am now, but you just wait!” I actually think there’s like two schools of thought for actors: One, when you’re starting to come up, one group takes rejection and internalizes it and believes it to be true. All the things that they say about them, that they’re not funny enough, pretty enough, whatever. And then the other school, the other group feels like, this is just ammo for me and this is just fueling my inner fire and I’m going to prove all of you guys wrong and you just wait and see! And like I, for whatever reason, fell into the second group and every rejection, I like to imagine it making me stronger and angrier and more determined.\u003c/p>\n\u003cp>\u003cstrong>On how filming sex scenes has changed so much now with intimacy coordinators \u003c/strong>\u003c/p>\n\u003cp>So much [has changed]. Which is wonderful, especially for the young people starting out, for the young actresses that don’t yet feel powerful enough to speak up on set, because it’s a very intimidating place to be when you’re young and new. So [with my first time doing a sex scene in] \u003cem>True Blood\u003c/em>, it would never happen like that again now, where I was just, like, drinking vodka at 7:00 in the morning to try to build up the courage to do this. And they were wonderful on that set. I’m very, very fortunate. I never found myself in a situation doing any of these jobs where I felt unsafe or pressured into anything. And so I’m not really even the person the intimacy coordinator is there for. They’re there for the people that are having a very different experience. \u003cem>Masters of Sex\u003c/em>, definitely no intimacy coordinator. And it’s like a completely different time because since then I have worked on shows where there have been intimacy coordinators and there’s this whole other step that just didn’t exist at all back then.\u003c/p>\n\u003cp>\u003cstrong>On starring in a reimagining of the 1987 film \u003c/strong>\u003cstrong>\u003cem>Fatal Attraction \u003c/em>\u003c/strong>\u003cstrong>(coming April 2023 on Paramount+)\u003c/strong>\u003c/p>\n\u003cp>It’s important to note that I love the movie \u003cem>Fatal Attraction\u003c/em>. I think it’s wonderful. I think it holds up in so many ways. It’s still scary. It’s still exciting. It’s still very sexy. The performances are incredible. It looks beautiful. I love the film. But when you watch even the film now, I find, as an audience member, it’s really difficult to see it in the same way that audiences saw it in 1987.\u003c/p>\n\u003cp>[aside postid='pop_105090']In 1987, you go to a movie about a married man, who’s married with a child who has this torrid weekend-long affair, [and] everything obviously goes haywire. [The other woman] becomes obsessed with him and we walk away feeling like that woman was evil, horrible, despicable, deserved to die. This poor man who made this one little mistake deserves nothing more than to ride off into the sunset with his wife and child. Thank God he prevailed against this horrible woman!\u003c/p>\n\u003cp>When you watch it now, it’s very difficult to not have some follow up questions about that. That version of the film can’t exist in 2023 because of these questions, because we’re now primed as audiences to want to know more about the woman, where she was coming from, and also to place some very well-deserved blame on the man. There’s no blame placed on him in the film. So I think while I completely understand wanting to preserve things that meant a lot to us as audience members, like the holiness of a movie you loved growing up, there are other ones like \u003cem>Fatal Attraction \u003c/em>where I think, Why not? Let’s do a deeper dive into this, because there are now more questions when you rewatch it. And if nothing else, I really think that it holds a magnifying glass up to audiences and how much we’ve changed, that a movie like that was so hugely commercially successful as well as critically acclaimed and awards … audiences today can’t see it through that same prism anymore. We just have changed so much as a culture.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Seth Kelley and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleishman+Is+in+Trouble%27+is+a+Trojan+horse+for+women%27s+stories%2C+says+Lizzy+Caplan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Caplan has seen a lot of changes in how the entertainment industry treats women, since she started out on ‘Freaks and Geeks.’ ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance, the series \u003cem>Fleishman is in Trouble \u003c/em>seems to be a story about a divorced dad (Jesse Eisenberg) navigating single parenthood and the mid-life dating scene. But right away there’s a clue that things are not as straightforward as they seem: The series is narrated not by Toby Fleishman, but his old college friend, Libby, played by Lizzy Caplan.\u003c/p>\n\u003cp>Caplan likens the series, which is based on \u003ca href=\"https://www.npr.org/2019/06/15/732097604/fleishman-is-in-trouble-a-debut-about-divorce-dating-and-disappearance\">the novel \u003c/a>by showrunner\u003ca href=\"https://www.npr.org/2023/01/11/1147818087/fleishman-is-in-trouble-taffy-brodesser-akner\"> Taffy Brodesser-Akner\u003c/a>, to a Trojan horse: “You think that you’re watching this story about a man getting divorced, figuring out dating apps, and you’re really not watching that story at all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over the course of the series’ eight episodes, the story shifts its focus, so that by the end, in addition to seeing things from Toby’s point of view, we also hear from Libby and from Toby’s ex-wife Rachel, played by Claire Danes. Caplan says the structuring was deliberate.\u003c/p>\n\u003cp>“It’s a sad truth … which is: I don’t know if this show would have been watched by as many people if it was about a woman [Rachel] going through horrific postpartum depression and anxiety, and another woman [Libby] having sort of a slower burn mid-life crisis,” Caplan says. “I think that immediately turns off a lot of male viewers and honestly, a lot of female viewers as well.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2jyBu4xGeH4'\n title='//www.youtube.com/embed/2jyBu4xGeH4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Caplan’s first acting job ever was in the 1999 high school drama, \u003cem>Freaks and Geeks\u003c/em>. More recently she was nominated for an Emmy for her role as a sex researcher in the Showtime series, \u003cem>Masters of Sex.\u003c/em> Libby, her character on \u003cem>Fleishman is in Trouble, \u003c/em>is a former magazine writer who’s become a suburban stay-at-home mom. Libby’s struggling with marriage, motherhood and identity — and mourning the loss of her own youth and potential. Caplan began shooting \u003cem>Fleishman \u003c/em>shortly after becoming a mother herself, which made Libby’s struggles even more resonant.\u003c/p>\n\u003cp>“It was just a lucky break to get to do this show at the dawn of my own motherhood,” she says. “The curtain was being ripped away on a daily basis for me, especially in those first three months, as I think it is for many new mothers.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On being stuck auditioning for the same female archetypes earlier in her career \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I feel like the roles for women, especially in television, they just get more interesting … as I’ve gotten older. But I know that is certainly not something that everybody feels. I know that I’m lucky to feel that way. But I definitely remember when I was younger and auditioning for a lot of this high school stuff or some early-twenties stuff and the male roles were always better. They always got to do the more fun stuff. And you were sort of relegated to a few different archetypes as a girl, especially back then. It has changed a lot, I see. A lot of the teen shows now, there is a shift, but there was the hot popular girl, there was the nerd. There was, like, the alternative best friend, which was very much my lane for a while. And I was very fortunate to be in some projects that kind of skewered the archetypal nature of those things. But for the most part, the things I auditioned for, certainly I remember asking many times when I was younger, like, “Can I audition for the guy part? Is there any way? There’s no reason why this character has to be a guy. It can be a girl.” And I certainly had nowhere near enough clout in the business for anybody to do anything other than laugh at that request.\u003c/p>\n\u003cp>\u003cstrong>On losing her mother when she was 13 and turning to acting in her grief \u003c/strong>\u003c/p>\n\u003cp>I had no idea how to process my mother’s death. It took me many, many years, but I knew that it gave me a darkness that in my mind was a requirement for being an actor, or the kind of actor I wanted to be. I needed to have this inner pain in order to do it. I remember going to an acting class and auditing it when I was 16 years old, and it was in Hollywood. It was a pretty prestigious acting class and it was full of 100 people in it and it went really late, till 1:00 a.m. And I stayed there and I watched it the whole time. And then I met with the teacher afterwards to see if I could join the class. And she looked at me and asked me how old I was, and I said I was 16. And she said, “You haven’t had any life experience. You can’t be in this class,” and booted me out. And that moment, it’s so crystallized in my brain because I remember feeling like, ‘Oh, no, this is the community that’s supposed to see these things in me — that I do have the depth that is required to be in this class — but you just see some dumb little teenager who hasn’t been through anything.’ When the reality was I had been through what is still the most monumental tragedy of my life.\u003c/p>\n\u003cp>\u003cstrong>On her first role in the series \u003c/strong>\u003cstrong>\u003cem>Freaks and Geeks\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Little did I know that “critically acclaimed and short-lived” would describe the vast majority of my future projects. The experience itself was very overwhelming … just stepping into this completely different universe that I had no idea about. I grew up in L.A., but I had never been on a movie set before. I didn’t know how any of it worked. I didn’t know about marks on the ground and coverage and close ups and how long everything was going to take and hair and makeup and how many outfits I’d have to try on for this one line that I was going to say.\u003c/p>\n\u003cp>I remember … just looking in the mirror for hours, just reciting this one line over and over and over and over again and being terrified and just in love with the idea of this moving village with these hundreds of people all working towards this goal together, but also feeling, again, completely overwhelmed, very shy, not bonding in any way with any of my castmates or anybody. I look back at that experience and it was just honestly pure luck to end up on a show that ended up being so loved and so respected for so many years, because I really did audition for all kinds of nonsense, and just that was the first place that picked me. But it wasn’t a fun experience for me. It was mostly just scary.\u003c/p>\n\u003cp>\u003cstrong>On her break-out role in 2004’s \u003c/strong>\u003cstrong>\u003cem>Mean Girls \u003c/em>\u003c/strong>\u003cstrong>as “alternative” girl Janis Ian\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All I knew was that it was the funniest script I had ever read and I would do anything to be in it. And then the making of that was so fun. We were in Toronto and young and living in this hotel together, and it was just a wonderful experience. And then it did well when it first opened. And so I thought that meant that I was off to the races. And that is certainly not what happened. I didn’t work after that for a year. I didn’t really understand how I could be in something that seemed to be successful and none of that success seemed to be rubbing off on me. So I did what most actresses in the early aughts did and got a spray tan and dyed my hair blond and just joined a show [\u003cem>Related\u003c/em>] on the WB network. That felt like the antidote.\u003c/p>\n\u003cfigure id=\"attachment_13924497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg\" alt=\"A young woman with pale skin, wearing black eye make-up, a studded bracelet and a sleeveless denim jacket sits at a kitchen table, pen in hand.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The making of that was so fun,” Caplan says of the 2004 film ‘Mean Girls.’ \u003ccite>(Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On relating to the characters in\u003c/strong> \u003cstrong>the 2009 Starz sitcom\u003c/strong>\u003cstrong>\u003cem> Party Down\u003c/em>\u003c/strong>\u003cstrong>, which was about struggling actors working as catering servers\u003c/strong>\u003c/p>\n\u003cp>I remember very vividly catering the \u003cem>Being John Malkovich\u003c/em> premiere party and walking around with a tray of passed apps and none of these people looking me in the eye at all. I was just, like, a tray that moved, and feeling those feelings that all the characters in \u003cem>Party Down\u003c/em> were feeling, which was basically like, “Oh, you don’t know who I am now, but you just wait!” I actually think there’s like two schools of thought for actors: One, when you’re starting to come up, one group takes rejection and internalizes it and believes it to be true. All the things that they say about them, that they’re not funny enough, pretty enough, whatever. And then the other school, the other group feels like, this is just ammo for me and this is just fueling my inner fire and I’m going to prove all of you guys wrong and you just wait and see! And like I, for whatever reason, fell into the second group and every rejection, I like to imagine it making me stronger and angrier and more determined.\u003c/p>\n\u003cp>\u003cstrong>On how filming sex scenes has changed so much now with intimacy coordinators \u003c/strong>\u003c/p>\n\u003cp>So much [has changed]. Which is wonderful, especially for the young people starting out, for the young actresses that don’t yet feel powerful enough to speak up on set, because it’s a very intimidating place to be when you’re young and new. So [with my first time doing a sex scene in] \u003cem>True Blood\u003c/em>, it would never happen like that again now, where I was just, like, drinking vodka at 7:00 in the morning to try to build up the courage to do this. And they were wonderful on that set. I’m very, very fortunate. I never found myself in a situation doing any of these jobs where I felt unsafe or pressured into anything. And so I’m not really even the person the intimacy coordinator is there for. They’re there for the people that are having a very different experience. \u003cem>Masters of Sex\u003c/em>, definitely no intimacy coordinator. And it’s like a completely different time because since then I have worked on shows where there have been intimacy coordinators and there’s this whole other step that just didn’t exist at all back then.\u003c/p>\n\u003cp>\u003cstrong>On starring in a reimagining of the 1987 film \u003c/strong>\u003cstrong>\u003cem>Fatal Attraction \u003c/em>\u003c/strong>\u003cstrong>(coming April 2023 on Paramount+)\u003c/strong>\u003c/p>\n\u003cp>It’s important to note that I love the movie \u003cem>Fatal Attraction\u003c/em>. I think it’s wonderful. I think it holds up in so many ways. It’s still scary. It’s still exciting. It’s still very sexy. The performances are incredible. It looks beautiful. I love the film. But when you watch even the film now, I find, as an audience member, it’s really difficult to see it in the same way that audiences saw it in 1987.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1987, you go to a movie about a married man, who’s married with a child who has this torrid weekend-long affair, [and] everything obviously goes haywire. [The other woman] becomes obsessed with him and we walk away feeling like that woman was evil, horrible, despicable, deserved to die. This poor man who made this one little mistake deserves nothing more than to ride off into the sunset with his wife and child. Thank God he prevailed against this horrible woman!\u003c/p>\n\u003cp>When you watch it now, it’s very difficult to not have some follow up questions about that. That version of the film can’t exist in 2023 because of these questions, because we’re now primed as audiences to want to know more about the woman, where she was coming from, and also to place some very well-deserved blame on the man. There’s no blame placed on him in the film. So I think while I completely understand wanting to preserve things that meant a lot to us as audience members, like the holiness of a movie you loved growing up, there are other ones like \u003cem>Fatal Attraction \u003c/em>where I think, Why not? Let’s do a deeper dive into this, because there are now more questions when you rewatch it. And if nothing else, I really think that it holds a magnifying glass up to audiences and how much we’ve changed, that a movie like that was so hugely commercially successful as well as critically acclaimed and awards … audiences today can’t see it through that same prism anymore. We just have changed so much as a culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Seth Kelley and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleishman+Is+in+Trouble%27+is+a+Trojan+horse+for+women%27s+stories%2C+says+Lizzy+Caplan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Get These Sundance 2023 Movies on Your Radar Now",
"headTitle": "Get These Sundance 2023 Movies on Your Radar Now | KQED",
"content": "\u003cp>The thing about the Sundance Film Festival — or any film festival, for that matter — is that it can be a fool’s errand to try and predict the trajectory of a movie beyond the initial wave of critics’ reactions and reports of multimillion distribution deals. Sure, \u003ca href=\"https://www.npr.org/2021/08/13/1027033602/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\">\u003cem>CODA\u003c/em>\u003c/a> was a hit upon its premiere at the fest in 2021, but was anyone at that time thinking it would go on to become the first Sundance movie \u003cem>and \u003c/em>a movie from a streaming service to win the Best Picture Oscar? On the other hand, an untold number of films have made a splash only to be buried and forgotten upon release months later.\u003c/p>\n\u003cp>[aside postid='arts_13924083']But one thing I love about Sundance is that if you see enough movies, there are always going to be some gems and genuine surprises to stumble upon, particularly when it comes to emerging filmmakers and performers. And then you hope that at the very least they find an enthusiastic audience beyond us fest-goers.\u003c/p>\n\u003cp>Sundance 2023 \u003ca href=\"https://www.npr.org/2023/01/19/1149924353/park-city-utah-welcomes-back-sundance-film-festival-attendees\">took place in-person\u003c/a> in Park City, Utah for the first time since 2020. I wasn’t able to head out to the mountains this year, but much of the program was also made available to press and audiences online, and I wound up screening nearly 20 movies over the past week. We’re still a couple days away from the conclusion of the festival, and the awards are set to be announced Friday evening, but below are a few of my favorites from this year.\u003c/p>\n\u003ch3>The crowd pleasers\u003c/h3>\n\u003cp>If there’s one specific formula Sundance programmers and audiences can’t resist, it’s the quirky coming-of-age drama/comedy/dramedy. (See \u003ca href=\"https://www.npr.org/2015/06/12/413947330/laughs-leaven-tears-in-me-and-earl-and-the-dying-girl\">\u003cem>Me and Earl and the Dying Girl\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2021/08/08/1025124051/troy-kotsur-coda-deaf-actor-mandalorian-criminal-minds\">\u003cem>CODA\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2022/06/17/1105212490/sundance-movie-reviews-good-luck-to-you-leo-grande-cha-cha-real-smooth\">\u003cem>Cha Cha Real Smooth\u003c/em>\u003c/a>, each of which won an Audience Award in their respective years.) Sometimes these movies can border on cloying and twee, but two such stories I saw this year managed to mercifully resist such categorization.\u003c/p>\n\u003cp>The first is \u003ca href=\"https://festival.sundance.org/program/film/638a1782d406b210f8f2cafb\">\u003cem>Polite Society,\u003c/em>\u003c/a> the genre-hopping feature directorial debut of Nida Manzoor, who is probably best known as the creator of the acclaimed series \u003ca href=\"https://www.wbur.org/npr/1007574314/we-are-lady-parts-rocks-with-bracing-honesty-and-nuance\">\u003cem>We Are Lady Parts\u003c/em>.\u003c/a> It stars Priya Kansara as Ria Khan, a plucky teen and aspiring stunt woman who takes it extremely personally when her older sister Lena (Ritu Arya) becomes engaged to a wealthy doctor. Ria, a die-hard feminist, is worried Lena has given up on her dreams of becoming an artist to go full-on Stepford Wife, so she’ll do everything in her power to keep the wedding from happening, with the assist of her best friends.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Lady Part’\u003c/em>s themes around sisterhood and feminine autonomy are all over this — as is the DNA of action-comedies like \u003ca href=\"https://www.npr.org/2010/04/15/114616124/shiv-and-let-shiv-making-peace-with-kick-ass-and-other-meditations\">\u003cem>Kick-Ass\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/04/10/1091504221/michelle-yeoh-everything-everywhere-all-at-once\"> \u003cem>Everything Everywhere All at Once\u003c/em>,\u003c/a> and the twisty humor of Jordan Peele. The ensemble is a delight, especially Kansara and Nimra Bucha, who relishes her role as Lena’s soon-to-be mother-in-law, and the script is sharp-witted and breezy. Luckily, you won’t have to wait too long to check this out — it’s currently scheduled for theatrical release on April 28.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TRFM7HQmkH0\u003c/p>\n\u003cp>The other is Molly Gordon and Nick Lieberman’s\u003ca href=\"https://festival.sundance.org/program/film/638a6f5ea54797525eba76df\"> \u003cem>Theater Camp\u003c/em>\u003c/a>, a mockumentary about a kids camp that faces two big setbacks: The loss of its beloved founder Joan (Amy Sedaris), who slips into a coma following a seizure during a production of \u003cem>Bye Bye Birdie\u003c/em>, and impending financial doom. Her kind of dense, bro-y son Troy earnestly takes over, while the counselors, including alumni and best friends Amos and Rebecca-Diane (Ben Platt and Gordon) try to keep the show going.\u003c/p>\n\u003cp>I’ll admit that I’m especially biased on this one, having myself once been a theater kid — so I was able to overlook the bold and disappointing choice to cast the great Amy Sedaris only to relegate her to just a handful of minutes on screen. Also yes, the mockumentary format is mostly tired,\u003ca href=\"https://www.npr.org/2022/02/23/1082506558/abbott-elementary-quinta-brunson\"> \u003cem>Abbott Elementary\u003c/em>\u003c/a> aside. But many of the jokes about overenthusiastic theater geeks young and old landed for me. And the movie’s final act, involving the kids’ performance of a musical tribute to Joan, is both astonishingly silly and quite sweet. It \u003ca href=\"https://variety.com/2023/film/news/theater-camp-searchlight-sundance-film-festival-sale-ben-platt-1235499383/\">sold to Searchlight Pictures\u003c/a> at the festival, so expect to see it released in the coming months.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6D4rZzR15Wk\u003c/p>\n\u003ch3>Men are not OK\u003c/h3>\n\u003cp>There was no shortage of iterations on the current state of misogyny and patriarchy among this year’s Sundance offerings. One of the more interesting entries is Elijah Bynum’s \u003ca href=\"https://festival.sundance.org/program/film/638a1602d406b2db8ff2c6a1\">\u003cem>Magazine Dreams\u003c/em>\u003cem>.\u003c/em>\u003c/a> It was the talk of the festival, at first for not-great reasons (the jury, which included actor Marlee Matlin, \u003ca href=\"https://variety.com/2023/film/news/sundance-jury-walks-out-magazine-dreams-premiere-festival-marlee-matlin-captioning-1235497789/\">walked out \u003c/a>on the premiere because the theater’s open captions technology was not working), and then because of star Jonathan Majors’ towering performance as Killian, a socially awkward loner and aspiring body builder. The movie draws heavily from the likes of \u003cem>Taxi Driver’\u003c/em>s Travis Bickle and Eminem’s “Stan,” and heads in directions both obvious and confounding; the ending didn’t work for me, but Majors is a sight to behold, creating a challenging character who both embodies and resists the old racist trope of the “Black brute.”\u003c/p>\n\u003cfigure id=\"attachment_13924368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png\" alt=\"A muscular Black man’s bare skin shines under stage lights, as he stands, head bowed.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM.png 1304w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Majors as Killian in ‘Magazine Dreams.’ \u003ccite>(Glen Wilson/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>I also really dug Chloe Domont’s \u003ca href=\"https://festival.sundance.org/program/film/638a208c77dd3dc87f80726b\">\u003cem>Fair Play\u003c/em>,\u003c/a> a thriller about a newly engaged heterosexual couple whose relationship is tested when one of them gets a promotion over the other at the cutthroat financial firm where they both work. Can you guess which one of them doesn’t get the coveted position? Why yes, it’s the man, Luke (Alden Ehrenreich), who tries really hard — at first — to be supportive of Emily (Phoebe Dynevor), his fiancée and, now, his superior. The guy who’s threatened by his girlfriend’s/wife’s career is a tale as old as time, but Domont puts a spin on it that feels very in tune with the now and all the discourse being had about the fraught nature of girl bosses and workplace relationships. (Netflix reportedly \u003ca href=\"https://variety.com/2023/film/festivals/fair-play-sundance-film-festival-sale-netflix-1235498052/\">acquired it in a $20 million deal\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13924104']On a lighter note, the spiky rom-com \u003ca href=\"https://festival.sundance.org/program/film/638a16dfd406b2f146f2c7c9\">\u003cem>Shortcomings\u003c/em>\u003c/a> deals with fragile masculinity from an Asian American perspective. It stars Justin H. Min as Ben, a wannabe filmmaker living in Berkeley, who’s stuck in both a professional and romantic rut. When Ben’s girlfriend Miko (Ally Maki) leaves for New York to pursue an internship, he’s forced to finally confront his many insecurities and internalized racism — Miko and his best friend, Alice, played by Sherry Cola, frequently call out his fetish for blonde white women, as well as his hypocritical disdain for Asian women who date white men. Screenwriter Adrian Tomine adapted his graphic novel of the same name, and it marks the directorial debut of Randall Park; while it hits some familiar beats, the banter is often funny and the script heads to places few rom-coms dare go.\u003c/p>\n\u003ch3>Finding family, finding yourself\u003c/h3>\n\u003cp>Among my absolute favorite finds this year were several movies dealing with themes of memory, generational bonds, and self-discovery.\u003c/p>\n\u003cfigure id=\"attachment_13924364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924364\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg\" alt=\"A slender Black woman wearing a simple long white smock, cradles her baby closely in her arms. She is standing outside with lush green trees and a hedge behind her.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sheila Atim in ‘All Dirt Roads Taste of Salt.’ \u003ccite>(Jaclyn Martinez/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raven Jackson’s debut \u003ca href=\"https://festival.sundance.org/program/film/638a20ae77dd3d361c8072eb\">\u003cem>All Dirt Roads Taste of Salt\u003c/em>\u003c/a> is a poetic, non-linear narrative that traverses several decades in the life of a Mississippi woman, from childhood through adulthood. This isn’t about plot, but about the moments of mundanity made profound through the inquisitive eyes of Mack (played as a kid by Kaylee Nicole Johnson and older by Charleen McClure) and the camera’s lingering gaze: fishing with dad, parents slow-dancing in the living room, listening to grandma’s stories. One scene in particular stuck with me and is already in the running for best scenes of the year — a quiet, trembling embrace that carries with it the weight of years, loss and connection without a single word. (There is in fact, very little dialogue throughout the film.) In stunning imagery and tone, it feels like a direct descendant of Julie Dash’s \u003ca href=\"https://www.npr.org/2016/11/20/502797705/daughters-of-the-dust-re-released-following-attention-from-beyonc\">\u003cem>Daughters of the Dust\u003c/em>\u003c/a>, yet stands powerfully on its own as a rumination on Black womanhood and its existence within nature. And as if you need any more reason to be on the lookout for this movie, Barry Jenkins is a producer.\u003c/p>\n\u003cp>[aside postid='arts_13923793']Milisuthando Bongela’s documentary \u003ca href=\"https://festival.sundance.org/program/film/638a180f77dd3d4e0880568b\">\u003cem>Milisuthando\u003c/em>\u003c/a> is similarly evocative, though Bongela embraces dialogue and a more literal approach, creating a compelling personal essay brought to life on screen. Through home movies, interviews, and tons of striking archival footage, she excavates the lingering effects of South African apartheid on herself and her friends and family. She challenges the myths that were perpetuated by those who supported the Transkei, an unrecognized state that was created in 1976 under the pretense that it would liberate the Xosha people and shield them from the harms of apartheid. And she questions what it means to have white friends in South Africa, which includes an illuminating, unflinching conversation between the filmmaker and her friend (and the movie’s producer) Marion Isaacs. The country’s history with race is emotionally rendered and made deeply personal in a way I haven’t quite seen before.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924358 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe\" alt=\"An older woman with pale skin and chin-length grey hair examines her reflection in a small, round bathroom mirror.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1536x863.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And then there’s Patricia Ortega’s \u003ca href=\"https://festival.sundance.org/program/film/638a179977dd3d550a8054c9\">\u003cem>MAMACRUZ\u003c/em>,\u003c/a> a charming Spanish-language film about Cruz (Kiti Mánver), an older woman who has a late-in-life sexual awakening after discovering porn on the internet. The premise definitely leaves room for cheekiness (a scene where Cruz watches a couple have sex with chocolate is immediately followed up with the image of a churro being dipped in chocolate sauce), but the protagonist’s journey is treated seriously and with warmth. Cruz makes friends with other women in a sex therapy group, and tries to spice up the intimacy with her distant, barely affectionate husband. She struggles to reconcile her desires with her devoutly religious beliefs. And she attempts to reconnect with her daughter, who is herself trying to realize a dream later in life, of becoming a professional dancer. If you enjoyed last year’s Sundance hit \u003ca href=\"https://www.npr.org/2022/06/07/1103500146/emma-thompson-finds-herself-and-pleasure-in-good-luck-to-you-leo-grande\">\u003cem>Good Luck to You, Leo Grande \u003c/em>\u003c/a>(like I did), you’ll definitely find pleasure in \u003cem>MAMACRUZ. \u003c/em>(International rights to the movie \u003ca href=\"https://variety.com/2023/film/global/filmax-sundance-patricia-ortega-mamacruz-1235493897/\">were snagged by Spanish distributor Filmax\u003c/a>.)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Get+these+Sundance+2023+movies+on+your+radar+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "NPR’s Aisha Harris screened nearly 20 films at Sundance — these are her favorites.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thing about the Sundance Film Festival — or any film festival, for that matter — is that it can be a fool’s errand to try and predict the trajectory of a movie beyond the initial wave of critics’ reactions and reports of multimillion distribution deals. Sure, \u003ca href=\"https://www.npr.org/2021/08/13/1027033602/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\">\u003cem>CODA\u003c/em>\u003c/a> was a hit upon its premiere at the fest in 2021, but was anyone at that time thinking it would go on to become the first Sundance movie \u003cem>and \u003c/em>a movie from a streaming service to win the Best Picture Oscar? On the other hand, an untold number of films have made a splash only to be buried and forgotten upon release months later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But one thing I love about Sundance is that if you see enough movies, there are always going to be some gems and genuine surprises to stumble upon, particularly when it comes to emerging filmmakers and performers. And then you hope that at the very least they find an enthusiastic audience beyond us fest-goers.\u003c/p>\n\u003cp>Sundance 2023 \u003ca href=\"https://www.npr.org/2023/01/19/1149924353/park-city-utah-welcomes-back-sundance-film-festival-attendees\">took place in-person\u003c/a> in Park City, Utah for the first time since 2020. I wasn’t able to head out to the mountains this year, but much of the program was also made available to press and audiences online, and I wound up screening nearly 20 movies over the past week. We’re still a couple days away from the conclusion of the festival, and the awards are set to be announced Friday evening, but below are a few of my favorites from this year.\u003c/p>\n\u003ch3>The crowd pleasers\u003c/h3>\n\u003cp>If there’s one specific formula Sundance programmers and audiences can’t resist, it’s the quirky coming-of-age drama/comedy/dramedy. (See \u003ca href=\"https://www.npr.org/2015/06/12/413947330/laughs-leaven-tears-in-me-and-earl-and-the-dying-girl\">\u003cem>Me and Earl and the Dying Girl\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2021/08/08/1025124051/troy-kotsur-coda-deaf-actor-mandalorian-criminal-minds\">\u003cem>CODA\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2022/06/17/1105212490/sundance-movie-reviews-good-luck-to-you-leo-grande-cha-cha-real-smooth\">\u003cem>Cha Cha Real Smooth\u003c/em>\u003c/a>, each of which won an Audience Award in their respective years.) Sometimes these movies can border on cloying and twee, but two such stories I saw this year managed to mercifully resist such categorization.\u003c/p>\n\u003cp>The first is \u003ca href=\"https://festival.sundance.org/program/film/638a1782d406b210f8f2cafb\">\u003cem>Polite Society,\u003c/em>\u003c/a> the genre-hopping feature directorial debut of Nida Manzoor, who is probably best known as the creator of the acclaimed series \u003ca href=\"https://www.wbur.org/npr/1007574314/we-are-lady-parts-rocks-with-bracing-honesty-and-nuance\">\u003cem>We Are Lady Parts\u003c/em>.\u003c/a> It stars Priya Kansara as Ria Khan, a plucky teen and aspiring stunt woman who takes it extremely personally when her older sister Lena (Ritu Arya) becomes engaged to a wealthy doctor. Ria, a die-hard feminist, is worried Lena has given up on her dreams of becoming an artist to go full-on Stepford Wife, so she’ll do everything in her power to keep the wedding from happening, with the assist of her best friends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lady Part’\u003c/em>s themes around sisterhood and feminine autonomy are all over this — as is the DNA of action-comedies like \u003ca href=\"https://www.npr.org/2010/04/15/114616124/shiv-and-let-shiv-making-peace-with-kick-ass-and-other-meditations\">\u003cem>Kick-Ass\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/04/10/1091504221/michelle-yeoh-everything-everywhere-all-at-once\"> \u003cem>Everything Everywhere All at Once\u003c/em>,\u003c/a> and the twisty humor of Jordan Peele. The ensemble is a delight, especially Kansara and Nimra Bucha, who relishes her role as Lena’s soon-to-be mother-in-law, and the script is sharp-witted and breezy. Luckily, you won’t have to wait too long to check this out — it’s currently scheduled for theatrical release on April 28.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TRFM7HQmkH0'\n title='//www.youtube.com/embed/TRFM7HQmkH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The other is Molly Gordon and Nick Lieberman’s\u003ca href=\"https://festival.sundance.org/program/film/638a6f5ea54797525eba76df\"> \u003cem>Theater Camp\u003c/em>\u003c/a>, a mockumentary about a kids camp that faces two big setbacks: The loss of its beloved founder Joan (Amy Sedaris), who slips into a coma following a seizure during a production of \u003cem>Bye Bye Birdie\u003c/em>, and impending financial doom. Her kind of dense, bro-y son Troy earnestly takes over, while the counselors, including alumni and best friends Amos and Rebecca-Diane (Ben Platt and Gordon) try to keep the show going.\u003c/p>\n\u003cp>I’ll admit that I’m especially biased on this one, having myself once been a theater kid — so I was able to overlook the bold and disappointing choice to cast the great Amy Sedaris only to relegate her to just a handful of minutes on screen. Also yes, the mockumentary format is mostly tired,\u003ca href=\"https://www.npr.org/2022/02/23/1082506558/abbott-elementary-quinta-brunson\"> \u003cem>Abbott Elementary\u003c/em>\u003c/a> aside. But many of the jokes about overenthusiastic theater geeks young and old landed for me. And the movie’s final act, involving the kids’ performance of a musical tribute to Joan, is both astonishingly silly and quite sweet. It \u003ca href=\"https://variety.com/2023/film/news/theater-camp-searchlight-sundance-film-festival-sale-ben-platt-1235499383/\">sold to Searchlight Pictures\u003c/a> at the festival, so expect to see it released in the coming months.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6D4rZzR15Wk'\n title='//www.youtube.com/embed/6D4rZzR15Wk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Men are not OK\u003c/h3>\n\u003cp>There was no shortage of iterations on the current state of misogyny and patriarchy among this year’s Sundance offerings. One of the more interesting entries is Elijah Bynum’s \u003ca href=\"https://festival.sundance.org/program/film/638a1602d406b2db8ff2c6a1\">\u003cem>Magazine Dreams\u003c/em>\u003cem>.\u003c/em>\u003c/a> It was the talk of the festival, at first for not-great reasons (the jury, which included actor Marlee Matlin, \u003ca href=\"https://variety.com/2023/film/news/sundance-jury-walks-out-magazine-dreams-premiere-festival-marlee-matlin-captioning-1235497789/\">walked out \u003c/a>on the premiere because the theater’s open captions technology was not working), and then because of star Jonathan Majors’ towering performance as Killian, a socially awkward loner and aspiring body builder. The movie draws heavily from the likes of \u003cem>Taxi Driver’\u003c/em>s Travis Bickle and Eminem’s “Stan,” and heads in directions both obvious and confounding; the ending didn’t work for me, but Majors is a sight to behold, creating a challenging character who both embodies and resists the old racist trope of the “Black brute.”\u003c/p>\n\u003cfigure id=\"attachment_13924368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png\" alt=\"A muscular Black man’s bare skin shines under stage lights, as he stands, head bowed.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM.png 1304w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Majors as Killian in ‘Magazine Dreams.’ \u003ccite>(Glen Wilson/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>I also really dug Chloe Domont’s \u003ca href=\"https://festival.sundance.org/program/film/638a208c77dd3dc87f80726b\">\u003cem>Fair Play\u003c/em>,\u003c/a> a thriller about a newly engaged heterosexual couple whose relationship is tested when one of them gets a promotion over the other at the cutthroat financial firm where they both work. Can you guess which one of them doesn’t get the coveted position? Why yes, it’s the man, Luke (Alden Ehrenreich), who tries really hard — at first — to be supportive of Emily (Phoebe Dynevor), his fiancée and, now, his superior. The guy who’s threatened by his girlfriend’s/wife’s career is a tale as old as time, but Domont puts a spin on it that feels very in tune with the now and all the discourse being had about the fraught nature of girl bosses and workplace relationships. (Netflix reportedly \u003ca href=\"https://variety.com/2023/film/festivals/fair-play-sundance-film-festival-sale-netflix-1235498052/\">acquired it in a $20 million deal\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On a lighter note, the spiky rom-com \u003ca href=\"https://festival.sundance.org/program/film/638a16dfd406b2f146f2c7c9\">\u003cem>Shortcomings\u003c/em>\u003c/a> deals with fragile masculinity from an Asian American perspective. It stars Justin H. Min as Ben, a wannabe filmmaker living in Berkeley, who’s stuck in both a professional and romantic rut. When Ben’s girlfriend Miko (Ally Maki) leaves for New York to pursue an internship, he’s forced to finally confront his many insecurities and internalized racism — Miko and his best friend, Alice, played by Sherry Cola, frequently call out his fetish for blonde white women, as well as his hypocritical disdain for Asian women who date white men. Screenwriter Adrian Tomine adapted his graphic novel of the same name, and it marks the directorial debut of Randall Park; while it hits some familiar beats, the banter is often funny and the script heads to places few rom-coms dare go.\u003c/p>\n\u003ch3>Finding family, finding yourself\u003c/h3>\n\u003cp>Among my absolute favorite finds this year were several movies dealing with themes of memory, generational bonds, and self-discovery.\u003c/p>\n\u003cfigure id=\"attachment_13924364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924364\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg\" alt=\"A slender Black woman wearing a simple long white smock, cradles her baby closely in her arms. She is standing outside with lush green trees and a hedge behind her.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sheila Atim in ‘All Dirt Roads Taste of Salt.’ \u003ccite>(Jaclyn Martinez/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raven Jackson’s debut \u003ca href=\"https://festival.sundance.org/program/film/638a20ae77dd3d361c8072eb\">\u003cem>All Dirt Roads Taste of Salt\u003c/em>\u003c/a> is a poetic, non-linear narrative that traverses several decades in the life of a Mississippi woman, from childhood through adulthood. This isn’t about plot, but about the moments of mundanity made profound through the inquisitive eyes of Mack (played as a kid by Kaylee Nicole Johnson and older by Charleen McClure) and the camera’s lingering gaze: fishing with dad, parents slow-dancing in the living room, listening to grandma’s stories. One scene in particular stuck with me and is already in the running for best scenes of the year — a quiet, trembling embrace that carries with it the weight of years, loss and connection without a single word. (There is in fact, very little dialogue throughout the film.) In stunning imagery and tone, it feels like a direct descendant of Julie Dash’s \u003ca href=\"https://www.npr.org/2016/11/20/502797705/daughters-of-the-dust-re-released-following-attention-from-beyonc\">\u003cem>Daughters of the Dust\u003c/em>\u003c/a>, yet stands powerfully on its own as a rumination on Black womanhood and its existence within nature. And as if you need any more reason to be on the lookout for this movie, Barry Jenkins is a producer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Milisuthando Bongela’s documentary \u003ca href=\"https://festival.sundance.org/program/film/638a180f77dd3d4e0880568b\">\u003cem>Milisuthando\u003c/em>\u003c/a> is similarly evocative, though Bongela embraces dialogue and a more literal approach, creating a compelling personal essay brought to life on screen. Through home movies, interviews, and tons of striking archival footage, she excavates the lingering effects of South African apartheid on herself and her friends and family. She challenges the myths that were perpetuated by those who supported the Transkei, an unrecognized state that was created in 1976 under the pretense that it would liberate the Xosha people and shield them from the harms of apartheid. And she questions what it means to have white friends in South Africa, which includes an illuminating, unflinching conversation between the filmmaker and her friend (and the movie’s producer) Marion Isaacs. The country’s history with race is emotionally rendered and made deeply personal in a way I haven’t quite seen before.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924358 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe\" alt=\"An older woman with pale skin and chin-length grey hair examines her reflection in a small, round bathroom mirror.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1536x863.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there’s Patricia Ortega’s \u003ca href=\"https://festival.sundance.org/program/film/638a179977dd3d550a8054c9\">\u003cem>MAMACRUZ\u003c/em>,\u003c/a> a charming Spanish-language film about Cruz (Kiti Mánver), an older woman who has a late-in-life sexual awakening after discovering porn on the internet. The premise definitely leaves room for cheekiness (a scene where Cruz watches a couple have sex with chocolate is immediately followed up with the image of a churro being dipped in chocolate sauce), but the protagonist’s journey is treated seriously and with warmth. Cruz makes friends with other women in a sex therapy group, and tries to spice up the intimacy with her distant, barely affectionate husband. She struggles to reconcile her desires with her devoutly religious beliefs. And she attempts to reconnect with her daughter, who is herself trying to realize a dream later in life, of becoming a professional dancer. If you enjoyed last year’s Sundance hit \u003ca href=\"https://www.npr.org/2022/06/07/1103500146/emma-thompson-finds-herself-and-pleasure-in-good-luck-to-you-leo-grande\">\u003cem>Good Luck to You, Leo Grande \u003c/em>\u003c/a>(like I did), you’ll definitely find pleasure in \u003cem>MAMACRUZ. \u003c/em>(International rights to the movie \u003ca href=\"https://variety.com/2023/film/global/filmax-sundance-patricia-ortega-mamacruz-1235493897/\">were snagged by Spanish distributor Filmax\u003c/a>.)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Get+these+Sundance+2023+movies+on+your+radar+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Civil Dead’ Asks the Perpetual Question: What Do You Do When Your Friend is a Ghost?",
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"content": "\u003cp>It’s best I get this out the way early so we all know what we’re dealing with here. \u003cem>The Civil Dead\u003c/em> is a movie about a struggling photographer in Los Angeles who one day runs into a childhood friend of his who, it turns out, is now a ghost.\u003c/p>\n\u003cp>Yah-huh.\u003c/p>\n\u003cp>[aside postid='arts_13862625']\u003cem>The Civil Dead\u003c/em> is not a horror movie, though there are unnerving moments. It’s not a straightforward comedy either, though I did laugh out loud more than I thought I would. It’s also not some deep metaphor about long-lost childhood comfort, or the way things from our past can reemerge in times of crisis and haunt us.\u003c/p>\n\u003cp>Nope. \u003cem>The Civil Dead\u003c/em> is simply a movie in which screenwriters and lead actors Clay Tatum and Whitmer Thomas explore what might happen if a person suddenly found themselves with a ghost friend. What would you do? What could you get away with? What would you hate about it? The end result is absurd and a bit sad and will make you sympathize with ghosts more than probably any other movie you’ve ever seen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MLuoTYYIAsc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tatum plays photographer Clay, an unmotivated, dishonest man who thinks a purposely bad haircut is a sensible substitute for a decent personality. Thomas plays his needy ghost friend Whit with an endearing vulnerability and quiet resignation. Both characters are flawed and a bit selfish. Both are bored and unfulfilled. Both, on some level, deserve one another.\u003c/p>\n\u003cp>[aside postid='arts_13924104']The brilliance of \u003cem>The Civil Dead\u003c/em> lies in its insistence on presenting this ghost story in a way that is thoroughly rooted in the everyday and mundane. The film is realistic about how this scenario becomes tiresome for both of its protagonists, and Thomas and Tatum’s real-life friendship grounds the more ethereal aspects of the story.\u003c/p>\n\u003cp>In many ways, \u003cem>The Civil Dead\u003c/em> is refreshing and surprising. For one, the film’s “ghost rules” are a little different from what moviegoers have come to expect. Here, ghosts can’t float through walls or open doors or move objects on purpose. If Whit wants to go somewhere, he has to walk to it which, stuck in LA, makes for an arduous existence. Poor Whit is thoroughly at the mercy of humans and the humans have a habit (Clay included) of dehumanizing him on account of his deadness.\u003c/p>\n\u003cp>If there is a lesson in \u003cem>The Civil Dead\u003c/em> — and I’m not 100% sure there is — it might be that life is cruel, but death is worse. Or perhaps the lesson is to value even the smallest, silliest things in life. “I miss driving,” Whit ponders to himself at one point. “I miss sweating. I miss being hungry and thirsty. I miss burping and farting … I wish I had done more fucked-up shit when I was alive.”\u003c/p>\n\u003cp>\u003cem>The Civil Dead\u003c/em> also reminds us to treat others with kindness, even when they’re annoying; even when they’re trying to hang out with us for all eternity. It’s a strange little movie that never quite does what you’re expecting it to. Most delightfully, the movie’s ending is one that, like a ghost, you won’t see coming.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Civil Dead’ opens at the \u003ca href=\"https://drafthouse.com/sf/event/live-q-a-the-civil-dead\">Alamo Drafthouse\u003c/a> on Feb. 4, 2023, with a live Q&A with Clay Tatum and Whitmer Thomas. The movie will be available on demand starting Feb. 17.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tatum plays photographer Clay, an unmotivated, dishonest man who thinks a purposely bad haircut is a sensible substitute for a decent personality. Thomas plays his needy ghost friend Whit with an endearing vulnerability and quiet resignation. Both characters are flawed and a bit selfish. Both are bored and unfulfilled. Both, on some level, deserve one another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The brilliance of \u003cem>The Civil Dead\u003c/em> lies in its insistence on presenting this ghost story in a way that is thoroughly rooted in the everyday and mundane. The film is realistic about how this scenario becomes tiresome for both of its protagonists, and Thomas and Tatum’s real-life friendship grounds the more ethereal aspects of the story.\u003c/p>\n\u003cp>In many ways, \u003cem>The Civil Dead\u003c/em> is refreshing and surprising. For one, the film’s “ghost rules” are a little different from what moviegoers have come to expect. Here, ghosts can’t float through walls or open doors or move objects on purpose. If Whit wants to go somewhere, he has to walk to it which, stuck in LA, makes for an arduous existence. Poor Whit is thoroughly at the mercy of humans and the humans have a habit (Clay included) of dehumanizing him on account of his deadness.\u003c/p>\n\u003cp>If there is a lesson in \u003cem>The Civil Dead\u003c/em> — and I’m not 100% sure there is — it might be that life is cruel, but death is worse. Or perhaps the lesson is to value even the smallest, silliest things in life. “I miss driving,” Whit ponders to himself at one point. “I miss sweating. I miss being hungry and thirsty. I miss burping and farting … I wish I had done more fucked-up shit when I was alive.”\u003c/p>\n\u003cp>\u003cem>The Civil Dead\u003c/em> also reminds us to treat others with kindness, even when they’re annoying; even when they’re trying to hang out with us for all eternity. It’s a strange little movie that never quite does what you’re expecting it to. Most delightfully, the movie’s ending is one that, like a ghost, you won’t see coming.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Civil Dead’ opens at the \u003ca href=\"https://drafthouse.com/sf/event/live-q-a-the-civil-dead\">Alamo Drafthouse\u003c/a> on Feb. 4, 2023, with a live Q&A with Clay Tatum and Whitmer Thomas. The movie will be available on demand starting Feb. 17.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Real-Life Refugees of ‘Casablanca’ Make it So Much More Than a Love Story",
"headTitle": "The Real-Life Refugees of ‘Casablanca’ Make it So Much More Than a Love Story | KQED",
"content": "\u003cp>It’s been 80 years since the Hollywood classic \u003cem>Casablanca\u003c/em> opened nationwide. Set at Rick’s Cafe, a nightclub in the Moroccan city during World War II, the story centers around a love triangle.\u003c/p>\n\u003cp>Humphrey Bogart stars as Rick, the cynical American bar owner who repeatedly claims to be neutral in the war. Ingrid Bergman plays his old flame Ilsa Lund, who is now married to Victor Laszlo, a dashing resistance leader played by Paul Henreid.\u003c/p>\n\u003cp>[aside postid='arts_13919710']But \u003cem>Casablanca\u003c/em> is more than just a love story. It is a film about, and stocked with, the waves of refugees fleeing Nazi-occupied Europe during wartime. And many of the actors playing those roles were, in fact, refugees.\u003c/p>\n\u003cp>“When people speak here, the accents are real,” says \u003ca href=\"https://www.bu.edu/creativewriting/people/faculty/leslie-epstein-program-director/\">Leslie Epstein\u003c/a>, the son and nephew of screenwriters Philip and Julius Epstein\u003cem>. “\u003c/em>That gives it a kind of authenticity. In a sense, they’re playing themselves.”\u003c/p>\n\u003cp>Helmut Dantine was one such actor. Dantine was born in Austria and, as a teenager, became the leader of the anti-Nazi youth movement in Vienna. When the Nazis annexed Austria in March of 1938, they promptly arrested 19-year-old Dantine.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His family used their political connections to negotiate his release, and immediately sent him to the United States. He landed in Los Angeles, enrolled at UCLA, and began his acting career.\u003c/p>\n\u003cp>“He was drop dead gorgeous,” says his widow Niki Dantine. “He would walk in the room and the ladies would straighten the seams in their stockings.”\u003c/p>\n\u003cp>In \u003cem>Casablanca\u003c/em>, Dantine plays Jan Brandel, a young refugee who has fled Europe with his wife. In one scene, Jan is playing roulette, hoping to win enough money to buy their exit visas. But he’s losing. Seeing his predicament, Rick rigs the game to help Jan win, essentially gifting them the cash to secure the couple’s passage to America.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xD_bKVAZJBw&t=151s\u003c/p>\n\u003cp>In other wartime films, Dantine would be cast as the villain, playing Nazi officers opposite Errol Flynn in \u003cem>Northern Pursuit\u003c/em> (1943) and \u003cem>Escape in the Desert \u003c/em>(1945).\u003c/p>\n\u003cp>“It must have been incredibly hard for him emotionally,” Niki Dantine told \u003cem>Radio Diaries\u003c/em>. “Having been the leader of the anti-Nazi youth movement, to then be playing Nazis in film.”\u003c/p>\n\u003cp>There were several other European-born actors in \u003cem>Casablanca \u003c/em>who had made it to Hollywood after fleeing the Nazis.\u003c/p>\n\u003cul>\n\u003cli>Conrad Veidt plays Nazi officer Major Strasser. Veidt was a German actor whose wife was Jewish. Like Dantine, he escaped the Nazis only to find success portraying them on screen.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Peter Lorre plays Ugarte, a customer at Rick’s Cafe who steals from German couriers at the start of the film. Lorre began his career as a stage actor in Vienna and Berlin, and became internationally known with his performance in Fritz Lang’s \u003cem>M \u003c/em>(1931) and in America for his role in \u003cem>The Maltese Falcon\u003c/em> (1941).\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>S.Z. Sakall plays Carl the waiter. Before the war, Sakall was a Hungarian cabaret actor. Members of his family died in the death camps and he escaped to Hollywood, where he was known as “cuddles” and often cast in comedic roles.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Marcel Dalio plays Emil, the croupier. In France, Dalio was a star, known for his roles in Jean Renoir’s\u003cem> La Grande Illusion\u003c/em> (1937) and \u003cem>The Rules of the Game \u003c/em>(1939). Dalio was Jewish and he fled Paris in 1940 with his wife Madeleine Lebeau — who plays Yvonne in \u003cem>Casablanca\u003c/em>.\u003c/li>\n\u003c/ul>\n\u003cp>Today, many viewers see these on-screen refugees as Jewish, but they are never identified as such. From \u003cem>The Jazz Singer \u003c/em>(1927) to \u003cem>Gentleman’s Agreement \u003c/em>(1947), the term “Jewish” rarely appeared in Hollywood screenplays. One exception was \u003cem>Mr. Skeffington\u003c/em> (1944), written by the same writers as \u003cem>Casablanca\u003c/em>: the Epstein Brothers.\u003c/p>\n\u003cp>[aside postid='arts_13896717']“The Hollywood moguls, the boards in Washington, none of these people wanted the American public to think of World War II as a war for the Jews,” Leslie Epstein told \u003cem>Radio Diaries\u003c/em>. But even if it softened the specifics, \u003cem>Casablanca \u003c/em>still delivered a powerful political message to audiences.\u003c/p>\n\u003cp>“\u003cem>Casablanca\u003c/em> is a propaganda film,” says Noah Isenberg, author of \u003ca href=\"https://wwnorton.com/books/Well-Always-Have-Casablanca/\">\u003cem>We’ll Always Have Casablanca\u003c/em>\u003c/a>. “It’s a propaganda film because the American public were not fully convinced of the moral imperative of fighting this war; and the message is, this is a fight worth fighting.”\u003c/p>\n\u003cp>The character arc of Rick Blaine, played by Bogart, is a clear metaphor for the United States and foreign policy. Rick begins the film as an isolationist, telling Ilsa: “I’m not fighting for anything anymore, except myself. I’m the only cause I’m interested in.”\u003c/p>\n\u003cp>But as the story progresses, cracks appear in that façade. In the scene with Dantine, for example, Rick’s aid of young refugees is a sign he is not as cold-hearted as he leads people to believe.\u003c/p>\n\u003cp>Later in the famous scene of the singing of \u003cem>La Marseillaise\u003c/em>, Rick gives permission for the band to play the song of the resistance. As the refugees in the bar belt out their anthem, the film cuts to a closeup of the young French actress Madeleine Lebeau, tears streaming down her face.\u003c/p>\n\u003cp>Lebeau had fled Paris with her husband, Marcel Dalio, just two years prior. “They’re not tears of glycerin shed by an actress,” says Epstein. “The tears in her eyes are real.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HM-E2H1ChJM\u003c/p>\n\u003cp>During World War II, Hollywood provided safe harbor and employment for European emigres. After the war, a few of the refugee actors in \u003cem>Casablanca\u003c/em> were successful playing character roles. But for most, the work dried up as Hollywood turned its focus back to life in America. Some would be targeted by the House Committee on Un-American Activities. Others returned to post-war Europe.\u003c/p>\n\u003cp>[aside postid='arts_13915838']\u003cem>Casablanca\u003c/em> is often considered one of the greatest love stories ever told on screen, but its political message was particularly attuned to the times. Niki Dantine believes it left a mark.\u003c/p>\n\u003cp>“I think a film like \u003cem>Casablanca\u003c/em> gave Americans an opportunity to see what it was like to survive and how your life hangs in the balance during wartime.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was produced by Nellie Gilles of ‘Radio Diaries,’ and edited by Deborah George, Ben Shapiro and Joe Richman. You can find more stories on the ‘\u003c/em>\u003ca href=\"https://podcasts.apple.com/us/podcast/radio-diaries/id207505466\">\u003cem>Radio Diaries’ podcast. \u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+real-life+refugees+of+%27Casablanca%27+make+it+so+much+more+than+a+love+story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been 80 years since the Hollywood classic \u003cem>Casablanca\u003c/em> opened nationwide. Set at Rick’s Cafe, a nightclub in the Moroccan city during World War II, the story centers around a love triangle.\u003c/p>\n\u003cp>Humphrey Bogart stars as Rick, the cynical American bar owner who repeatedly claims to be neutral in the war. Ingrid Bergman plays his old flame Ilsa Lund, who is now married to Victor Laszlo, a dashing resistance leader played by Paul Henreid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But \u003cem>Casablanca\u003c/em> is more than just a love story. It is a film about, and stocked with, the waves of refugees fleeing Nazi-occupied Europe during wartime. And many of the actors playing those roles were, in fact, refugees.\u003c/p>\n\u003cp>“When people speak here, the accents are real,” says \u003ca href=\"https://www.bu.edu/creativewriting/people/faculty/leslie-epstein-program-director/\">Leslie Epstein\u003c/a>, the son and nephew of screenwriters Philip and Julius Epstein\u003cem>. “\u003c/em>That gives it a kind of authenticity. In a sense, they’re playing themselves.”\u003c/p>\n\u003cp>Helmut Dantine was one such actor. Dantine was born in Austria and, as a teenager, became the leader of the anti-Nazi youth movement in Vienna. When the Nazis annexed Austria in March of 1938, they promptly arrested 19-year-old Dantine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His family used their political connections to negotiate his release, and immediately sent him to the United States. He landed in Los Angeles, enrolled at UCLA, and began his acting career.\u003c/p>\n\u003cp>“He was drop dead gorgeous,” says his widow Niki Dantine. “He would walk in the room and the ladies would straighten the seams in their stockings.”\u003c/p>\n\u003cp>In \u003cem>Casablanca\u003c/em>, Dantine plays Jan Brandel, a young refugee who has fled Europe with his wife. In one scene, Jan is playing roulette, hoping to win enough money to buy their exit visas. But he’s losing. Seeing his predicament, Rick rigs the game to help Jan win, essentially gifting them the cash to secure the couple’s passage to America.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xD_bKVAZJBw'\n title='//www.youtube.com/embed/xD_bKVAZJBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In other wartime films, Dantine would be cast as the villain, playing Nazi officers opposite Errol Flynn in \u003cem>Northern Pursuit\u003c/em> (1943) and \u003cem>Escape in the Desert \u003c/em>(1945).\u003c/p>\n\u003cp>“It must have been incredibly hard for him emotionally,” Niki Dantine told \u003cem>Radio Diaries\u003c/em>. “Having been the leader of the anti-Nazi youth movement, to then be playing Nazis in film.”\u003c/p>\n\u003cp>There were several other European-born actors in \u003cem>Casablanca \u003c/em>who had made it to Hollywood after fleeing the Nazis.\u003c/p>\n\u003cul>\n\u003cli>Conrad Veidt plays Nazi officer Major Strasser. Veidt was a German actor whose wife was Jewish. Like Dantine, he escaped the Nazis only to find success portraying them on screen.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Peter Lorre plays Ugarte, a customer at Rick’s Cafe who steals from German couriers at the start of the film. Lorre began his career as a stage actor in Vienna and Berlin, and became internationally known with his performance in Fritz Lang’s \u003cem>M \u003c/em>(1931) and in America for his role in \u003cem>The Maltese Falcon\u003c/em> (1941).\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>S.Z. Sakall plays Carl the waiter. Before the war, Sakall was a Hungarian cabaret actor. Members of his family died in the death camps and he escaped to Hollywood, where he was known as “cuddles” and often cast in comedic roles.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Marcel Dalio plays Emil, the croupier. In France, Dalio was a star, known for his roles in Jean Renoir’s\u003cem> La Grande Illusion\u003c/em> (1937) and \u003cem>The Rules of the Game \u003c/em>(1939). Dalio was Jewish and he fled Paris in 1940 with his wife Madeleine Lebeau — who plays Yvonne in \u003cem>Casablanca\u003c/em>.\u003c/li>\n\u003c/ul>\n\u003cp>Today, many viewers see these on-screen refugees as Jewish, but they are never identified as such. From \u003cem>The Jazz Singer \u003c/em>(1927) to \u003cem>Gentleman’s Agreement \u003c/em>(1947), the term “Jewish” rarely appeared in Hollywood screenplays. One exception was \u003cem>Mr. Skeffington\u003c/em> (1944), written by the same writers as \u003cem>Casablanca\u003c/em>: the Epstein Brothers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The Hollywood moguls, the boards in Washington, none of these people wanted the American public to think of World War II as a war for the Jews,” Leslie Epstein told \u003cem>Radio Diaries\u003c/em>. But even if it softened the specifics, \u003cem>Casablanca \u003c/em>still delivered a powerful political message to audiences.\u003c/p>\n\u003cp>“\u003cem>Casablanca\u003c/em> is a propaganda film,” says Noah Isenberg, author of \u003ca href=\"https://wwnorton.com/books/Well-Always-Have-Casablanca/\">\u003cem>We’ll Always Have Casablanca\u003c/em>\u003c/a>. “It’s a propaganda film because the American public were not fully convinced of the moral imperative of fighting this war; and the message is, this is a fight worth fighting.”\u003c/p>\n\u003cp>The character arc of Rick Blaine, played by Bogart, is a clear metaphor for the United States and foreign policy. Rick begins the film as an isolationist, telling Ilsa: “I’m not fighting for anything anymore, except myself. I’m the only cause I’m interested in.”\u003c/p>\n\u003cp>But as the story progresses, cracks appear in that façade. In the scene with Dantine, for example, Rick’s aid of young refugees is a sign he is not as cold-hearted as he leads people to believe.\u003c/p>\n\u003cp>Later in the famous scene of the singing of \u003cem>La Marseillaise\u003c/em>, Rick gives permission for the band to play the song of the resistance. As the refugees in the bar belt out their anthem, the film cuts to a closeup of the young French actress Madeleine Lebeau, tears streaming down her face.\u003c/p>\n\u003cp>Lebeau had fled Paris with her husband, Marcel Dalio, just two years prior. “They’re not tears of glycerin shed by an actress,” says Epstein. “The tears in her eyes are real.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HM-E2H1ChJM'\n title='//www.youtube.com/embed/HM-E2H1ChJM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During World War II, Hollywood provided safe harbor and employment for European emigres. After the war, a few of the refugee actors in \u003cem>Casablanca\u003c/em> were successful playing character roles. But for most, the work dried up as Hollywood turned its focus back to life in America. Some would be targeted by the House Committee on Un-American Activities. Others returned to post-war Europe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced by Nellie Gilles of ‘Radio Diaries,’ and edited by Deborah George, Ben Shapiro and Joe Richman. You can find more stories on the ‘\u003c/em>\u003ca href=\"https://podcasts.apple.com/us/podcast/radio-diaries/id207505466\">\u003cem>Radio Diaries’ podcast. \u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+real-life+refugees+of+%27Casablanca%27+make+it+so+much+more+than+a+love+story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Everything Everywhere All at Once’ Leads With 11 Oscar Nominations",
"headTitle": "‘Everything Everywhere All at Once’ Leads With 11 Oscar Nominations | KQED",
"content": "\u003cp>The multiverse-skipping sci-fi indie hit \u003ci>Everything Everywhere All at Once\u003c/i> led nominations to the 95th Academy Awards as Hollywood heaped honors on big-screen spectacles like \u003ci>Top Gun: Maverick\u003c/i> and \u003ci>Avatar: The Way of Water\u003c/i> a year after a streaming service won best picture for the first time.\u003c/p>\n\u003cp>Daniel Scheinert and Daniel Kwan’s \u003ci>Everything Everywhere All at Once\u003c/i> landed a leading 11 nominations on Tuesday, including nods for Michelle Yeoh and comeback kid Ke Huy Quan, the former child star of \u003ci>Indiana Jones and the Temple of Doom\u003c/i>. Released back in March, the A24 film has proved an unlikely Oscar heavyweight against the expectations of even its makers. Yeoh became the first Asian actor nominated for best actress.\u003c/p>\n\u003cp>“Even just to be nominated means validation, love, from your peers,” said an “overwhelmed” Yeoh speaking by phone from London. “What it means for the rest of the Asians around the world, not just in America but globally, is to say we have a seat at the table. We finally have a seat at the table. We are being recognized and being seen.”\u003c/p>\n\u003cp>[aside postID='arts_13920702,arts_13922812']The 10 movies up for best picture are: \u003ci>Everything Everywhere All at Once\u003c/i>, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13920702/a-farmer-gets-dumped-by-his-best-friend-in-the-terrific-the-banshees-of-inisherin\">The Banshees of Inisherin\u003c/a>\u003c/i>, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13921398/see-how-a-young-steven-spielberg-fell-in-love-with-film-in-the-fabelmans\">The Fabelmans\u003c/a>\u003c/i>, \u003ci>Tár\u003c/i>, \u003ci>Top Gun: Maverick\u003c/i>, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13922812/review-avatar-way-of-water-james-cameron\">Avatar: The Way of Water\u003c/a>\u003c/i>, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13915163/baz-luhrmanns-elvis-is-all-sequins-no-soul\">Elvis\u003c/a>\u003c/i>, \u003ci>All Quiet on the Western Front\u003c/i>, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13923296/women-talking-sarah-polley-review-mennonite-miriam-toews\">Women Talking\u003c/a>\u003c/i> and \u003ci>Triangle of Sadness\u003c/i>.\u003c/p>\n\u003cp>Nominations were announced Tuesday from the academy’s Samuel Goldwyn Theater in Beverly Hills, California, by Riz Ahmed and Allison Williams. If last year’s Oscars were dominated by streaming — Apple TV+’s \u003ci>CODA\u003c/i> won best picture and Netflix landed a leading 27 nominations — movies that drew moviegoers to multiplexes after two years of pandemic make up many of this year’s top contenders.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the first time, two sequels — \u003ci>Top Gun: Maverick\u003c/i> and \u003ci>Avatar: The Way of Water\u003c/i> — were nominated for best picture. The two films together account for some $3.5 billion in box office. Tom Cruise missed out on an acting nomination, but \u003ci>Top Gun: Maverick\u003c/i> — often credited with bringing many moviegoers back to theaters — walked away with seven nominations, including best sound, best visual effects and best song for Lada Gaga’s “Hold My Hand.” Ryan Coogler’s \u003ci>Black Panther: Wakanda Forever\u003c/i>, made in the wake of Chadwick Boseman’s death, also scored five nominations, including the first acting nod for a performance in a Marvel movie: Angela Bassett, the likely favorite to win best supporting actress.\u003c/p>\n\u003cfigure id=\"attachment_13922633\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/ap22342673136312_wide-6d7539f18653cf3d4ba249c293efa57a7726e824-scaled-e1670872640646.jpg\" alt=\"An older man sits dejected on a simple wooden chair inside a cottage. Outside his window, another man stares inside, looking concerned.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13922633\">\u003cfigcaption class=\"wp-caption-text\">Brendan Gleeson and Colin Farrell in ‘The Banshees of Inisherin.’ \u003ccite>(Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going by earlier guild nominations, Martin McDonagh’s Ireland-set dark comedy \u003ci>The Banshees of Inisherin\u003c/i> may be the stiffest competition for \u003ci>Everything Everywhere All at Once\u003c/i> at the Oscars. The Searchlight Pictures film landed nine nominations Tuesday, including nods for McDonagh’s directing and screenplay, and a quartet of acting nominations: Colin Farrell for best actor, Kerry Condon for best supporting actress and both Brendan Gleeson and Barry Keoghan for best supporting actor.\u003c/p>\n\u003cp>[aside postID='arts_13921398,arts_13923296,arts_13915163']Baz Luhrmann’s bedazzled biopic \u003ci>Elvis\u003c/i> — another summer box-office hit — came away with eight nominations, including a best actor nod for star Austin Butler and nominations for its costumes, sound and production design.\u003c/p>\n\u003cp>Though Steven Spielberg’s \u003ci>The Fabelmans\u003c/i> struggled to catch on with audiences, the director’s autobiographical coming-of-age tale landed Spielberg his 20th Oscar nomination and eighth nod for best-director. John Williams, his longtime composer, extended his record for the most Oscar nominations for a living person. Williams’ 53rd nominations trails only Walt Disney’s 59. \u003ci>The Fabelmans\u003c/i> marks Spielberg’s 12th nomination as a producer for best picture.\u003c/p>\n\u003cp>In the ultra-competitive best actress race, \u003ci>Fabelmans\u003c/i> star Michelle Williams was nominated after being passed over by the Screen Actors Guild. The other nominees for best actress are: Ana de Armas, \u003ci>Blonde\u003c/i>; Cate Blanchett, \u003ci>Tár\u003c/i> and Andrea Riseborough, who emerged as a late contender after celebrities rallied around her performance as an alcoholic West Texas mother in the little-seen \u003ci>To Leslie\u003c/i>. Notably left out of the category were Viola Davis (\u003ci>Woman King\u003c/i>) and Danielle Deadwyler (\u003ci>Till\u003c/i>).\u003c/p>\n\u003cfigure id=\"attachment_13923014\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13923014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Cate Blanchett plays a world-renowned conductor in the film ‘Tár.’ \u003ccite>(Courtesy of Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Only one streaming title broke into the best picture field: The German WWI film \u003ci>All Quiet on the Western Front\u003c/i>. Though Netflix for the first time in years lacks a possible best picture frontrunner, \u003ci>All Quiet on the Western Front\u003c/i> landed a better-than-expected nine nominations. The streaming service also has the top animated film contender in \u003ci>Guillermo del Toro’s Pinocchio\u003c/i>, which was nominated for best animated feature.\u003c/p>\n\u003cp>Along with Butler and Farrell, the best actor nominees are: Brendan Fraser, hailed for his comeback performance as an overweight shut-in in \u003ci>The Whale\u003c/i>, Bill Nighy for \u003ci>Living\u003c/i> and, in a surprise for one of the most critically lauded films of the year, Paul Mescal, for Charlotte Wells’ father-daughter tale \u003ci>Aftersun\u003c/i>.\u003c/p>\n\u003cp>Brian Tyree Henry landed his first Oscar nomination for his supporting turn in \u003ci>Causeway\u003c/i>, in which he starred opposite Jennifer Lawrence. In the supporting actress category, two \u003ci>Everything Everywhere All at Once\u003c/i> actors — Jamie Lee Curtis and Stephanie Hsu — were nominated along with Hong Chau (\u003ci>The Whale\u003c/i>), Condon and Bassett.\u003c/p>\n\u003cp>After the best director category saw back-to-back landmark wins for female filmmakers — Chloé Zhao (\u003ci>Nomadland\u003c/i>) in 2021, Jane Campion (\u003ci>The Power of the Dog\u003c/i>) last year — no women were nominated for best director. But in the best picture group, one of the up-for-grabs final slots went to Sarah Polley’s \u003ci>Women Talking\u003c/i>, a parable of sexual assault and justice.\u003c/p>\n\u003cfigure id=\"attachment_13923301\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Foy.jpg\" alt=\"Young girl in a woman's lap and woman beside her, all in modest clothing.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13923301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Foy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Foy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Foy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Foy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Foy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Foy-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emily Mitchell, Claire Foy and Rooney Mara in a scene from ‘Women Talking.’ \u003ccite>(Orion Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nominees for international film are: \u003ci>All Quiet on the Western Front\u003c/i> (Germany); \u003ci>Argentina, 1985\u003c/i> (Argentina); \u003ci>Close\u003c/i> (Belgium); \u003ci>EO\u003c/i> (Poland); \u003ci>The Quiet Girl\u003c/i> (Ireland).\u003c/p>\n\u003cp>The nominees for best animated film are: \u003ci>Guillermo del Toro’s Pinocchio\u003c/i>; \u003ci>Marcel the Shell With Shoes On\u003c/i>; \u003ci>Puss in Boots: The Last Wish\u003c/i>; \u003ci>The Sea Beast\u003c/i>; \u003ci>Turning Red\u003c/i>.\u003c/p>\n\u003cp>The Academy of Motion Pictures Arts & Sciences will surely celebrate a best picture field populated with blockbusters; according to data firm Comscore, their collective domestic box office of $1.574 billion is the most at the time of nominations ever. Ratings for the telecast have typically been higher in years with much-watched films as favorites. \u003c/p>\n\u003cp>But larger concerns are swirling around the movie business. Last year saw flashes of triumphant resurrection for theaters, like the success of \u003ci>Top Gun: Maverick\u003c/i>, after two years of pandemic. But partially due to a less steady stream of major releases, ticket sales for the year recovered only about 70% of pre-pandemic business. Regal Cinemas, the nation’s second-largest chain, announced the closure of 39 cinemas this month.\u003c/p>\n\u003cp>At the same time, storm clouds swept into the streaming world after years of once-seemingly boundless growth. Stocks plunged as Wall Street looked to streaming services to earn profits, not just add subscribers. A retrenchment has followed, as the industry again enters a new uncertain chapter.\u003c/p>\n\u003cp>Last year’s Oscar broadcast drew 16.6 million viewers, according to Nielsen, up from the record-low audience of 10.5 million for the pandemic-marred 2021 telecast. This year, ABC is bringing back Jimmy Kimmel to host the March 12 ceremony.\u003c/p>\n\u003cp>The full list of nominees is below:\u003c/p>\n\u003ch2>Best picture\u003c/h2>\n\u003cp>\u003ci>All Quiet on the Western Front\u003cbr>\nAvatar: The Way of Water\u003cbr>\nThe Banshees of Inisherin\u003cbr>\nElvis\u003cbr>\nEverything Everywhere All at Once\u003cbr>\nThe Fabelmans\u003cbr>\nTár\u003cbr>\nTop Gun: Maverick\u003cbr>\nTriangle of Sadness\u003cbr>\nWomen Talking\u003c/i>\u003c/p>\n\u003ch2>Best actor\u003c/h2>\n\u003cp>Brendan Fraser, \u003ci>The Whale\u003c/i>\u003cbr>\nColin Farrell, \u003ci>The Banshees of Inisherin\u003c/i>\u003cbr>\nAustin Butler, \u003ci>Elvis\u003c/i>\u003cbr>\nBill Nighy, \u003ci>Living\u003c/i>\u003cbr>\nPaul Mescal, \u003ci>Aftersun\u003c/i>\u003c/p>\n\u003ch2>Best actress\u003c/h2>\n\u003cp>Ana de Armas, \u003ci>Blonde\u003c/i>\u003cbr>\nCate Blanchett, \u003ci>Tár\u003c/i>\u003cbr>\nAndrea Riseborough, \u003ci>To Leslie\u003c/i>\u003cbr>\nMichelle Williams, \u003ci>The Fabelmans\u003c/i>\u003cbr>\nMichelle Yeoh, \u003ci>Everything Everywhere All at Once\u003c/i>\u003c/p>\n\u003ch2>Best director\u003c/h2>\n\u003cp>Martin McDonagh, \u003ci>The Banshees of Inisherin\u003c/i>\u003cbr>\nDaniel Kwan and Daniel Scheinert, \u003ci>Everything Everywhere All at Once\u003c/i>\u003cbr>\nSteven Spielberg, \u003ci>The Fabelmans\u003c/i>\u003cbr>\nTodd Field, \u003ci>Tár\u003c/i>\u003cbr>\nRuben Ostlund, \u003ci>Triangle of Sadness\u003c/i>\u003c/p>\n\u003ch2>Best supporting actress\u003c/h2>\n\u003cp>Angela Bassett, \u003ci>Black Panther: Wakanda Forever\u003c/i>\u003cbr>\nHong Chau, \u003ci>The Whale\u003c/i>\u003cbr>\nKerry Condon, \u003ci>The Banshees of Inisherin\u003c/i>\u003cbr>\nStephanie Hsu, \u003ci>Everything Everywhere All at Once\u003c/i>\u003cbr>\nJamie Lee Curtis, \u003ci>Everything Everywhere All at Once\u003c/i>\u003c/p>\n\u003ch2>Best supporting actor\u003c/h2>\n\u003cp>Brian Tyree Henry, \u003ci>Causeway\u003c/i>\u003cbr>\nJudd Hirsch, \u003ci>The Fabelmans\u003c/i>\u003cbr>\nBrendan Gleeson, \u003ci>Banshees on Inisherin\u003c/i>\u003cbr>\nBarry Keoghan, \u003ci>Banshees of Inisherin\u003c/i>\u003cbr>\nKe Huy Quan, \u003ci>Everything Everywhere All at Once\u003c/i>\u003c/p>\n\u003ch2>International film\u003c/h2>\n\u003cp>\u003ci>All Quiet on the Western Front\u003c/i> (Germany)\u003cbr>\n\u003ci>Argentina, 1985\u003c/i> (Argentina)\u003cbr>\n\u003ci>Close\u003c/i> (Belgium)\u003cbr>\n\u003ci>EO\u003c/i> (Poland)\u003cbr>\n\u003ci>The Quiet Girl\u003c/i> (Ireland)\u003c/p>\n\u003ch2>Best animated feature\u003c/h2>\n\u003cp>\u003ci>Guillermo del Toro’s Pinocchio\u003cbr>\nMarcel the Shell With Shoes On\u003cbr>\nPuss in Boots: The Last Wish\u003cbr>\nThe Sea Beast\u003cbr>\nTurning Red\u003c/i>\u003c/p>\n\u003ch2>Original screenplay\u003c/h2>\n\u003cp>\u003ci>Everything Everywhere All at Once\u003cbr>\nThe Banshees of Inisherin\u003cbr>\nThe Fabelmans\u003cbr>\nTár\u003cbr>\nTriangle of Sadness\u003c/i>\u003c/p>\n\u003ch2>Adapted screenplay\u003c/h2>\n\u003cp>\u003ci>All Quiet on the Western Front\u003cbr>\nGlass Onion: A Knives Out Mystery\u003cbr>\nLiving\u003cbr>\nTop Gun: Maverick\u003cbr>\nWomen Talking\u003c/i>\u003c/p>\n\u003ch2>Visual Effects\u003c/h2>\n\u003cp>\u003ci>Avatar: The Way of Water\u003cbr>\nTop Gun: Maverick\u003cbr>\nThe Batman\u003cbr>\nBlack Panther: Wakanda Forever\u003cbr>\nAll Quiet on the Western Front\u003c/i>\u003c/p>\n\u003ch2>Music (original score)\u003c/h2>\n\u003cp>Volker Bertelmann, \u003ci>All Quiet on the Western Front\u003c/i>\u003cbr>\nJustin Hurwitz, \u003ci>Babylon\u003c/i>\u003cbr>\nCarter Burwell, \u003ci>The Banshees of Inisherin\u003c/i>\u003cbr>\nSon Lux, \u003ci>Everything Everywhere All at Once\u003c/i>\u003cbr>\nJohn Williams, \u003ci>The Fabelmans\u003c/i>\u003c/p>\n\u003ch2>Original song\u003c/h2>\n\u003cp>“Applause,” from \u003ci>Tell It Like a Woman\u003c/i>\u003cbr>\n“Hold My Hand,” from \u003ci>Top Gun: Maverick\u003c/i>\u003cbr>\n“Lift Me Up” from \u003ci>Black Panther: Wakanda Forever\u003c/i>\u003cbr>\n“Naatu Naatu” from \u003ci>RRR\u003c/i>\u003cbr>\n“This Is a Life” from \u003ci>Everything Everywhere All at Once\u003c/i>\u003c/p>\n\u003ch2>Documentary feature\u003c/h2>\n\u003cp>\u003ci>All That Breathes\u003cbr>\nAll the Beauty and the Bloodshed\u003cbr>\nFire of Love\u003cbr>\nA House Made of Splinters\u003cbr>\nNavalny\u003c/i>\u003c/p>\n\u003ch2>Cinematography\u003c/h2>\n\u003cp>James Friend, \u003ci>All Quiet on the Western Front\u003c/i>\u003cbr>\nDarius Khondj, \u003ci>Bardo, False Chronicle of a Handful of Truths\u003c/i>\u003cbr>\nMandy Walker, \u003ci>Elvis\u003c/i>\u003cbr>\nRoger Deakins, \u003ci>Empire of Light\u003c/i>\u003cbr>\nFlorian Hoffmeister, \u003ci>Tár\u003c/i>\u003c/p>\n\u003ch2>Costume design\u003c/h2>\n\u003cp>\u003ci>Babylon\u003cbr>\nBlack Panther: Wakanda Forever\u003cbr>\nElvis\u003cbr>\nEverything Everywhere All at Once\u003cbr>\nMrs. Harris Goes to Paris\u003c/i>\u003c/p>\n\u003ch2>Animated short\u003c/h2>\n\u003cp>\u003ci>The Boy, the Mole, the Fox and the Horse\u003cbr>\nThe Flying Sailor\u003cbr>\nIce Merchants\u003cbr>\nMy Year of Dicks\u003cbr>\nAn Ostrich Told Me the World is Fake and I Think I Believe it\u003c/i>\u003c/p>\n\u003ch2>Live action short\u003c/h2>\n\u003cp>\u003ci>An Irish Goodbye\u003cbr>\nIvalu\u003cbr>\nLe Pupille\u003cbr>\nNight Ride\u003cbr>\nThe Red Suitcase\u003c/i>\u003c/p>\n\u003ch2>Documentary short\u003c/h2>\n\u003cp>\u003ci>The Elephant Whisperers\u003cbr>\nHaulout\u003cbr>\nHow Do You Measure a Year?\u003cbr>\nThe Martha Mitchell Effect\u003cbr>\nStranger at the Gate\u003c/i>\u003c/p>\n\u003ch2>Film editing\u003c/h2>\n\u003cp>\u003ci>The Banshees of Inisherin\u003cbr>\nElvis\u003cbr>\nEverything Everywhere All at Once\u003cbr>\nTár\u003cbr>\nTop Gun: Maverick\u003c/i>\u003c/p>\n\u003ch2>Sound\u003c/h2>\n\u003cp>\u003ci>All Quiet on the Western Front\u003cbr>\nAvatar: The Way of Water\u003cbr>\nThe Batman\u003cbr>\nElvis\u003cbr>\nTop Gun: Maverick\u003c/i>\u003c/p>\n\u003ch2>Production design\u003c/h2>\n\u003cp>\u003ci>All Quiet on the Western Front\u003cbr>\nAvatar: The Way of Water\u003cbr>\nBabylon\u003cbr>\nElvis\u003cbr>\nThe Fabelmans\u003c/i>\u003c/p>\n\u003ch2>Makeup and hairstyling\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>All Quiet on the Western Front\u003cbr>\nThe Batman\u003cbr>\nBlack Panther: Wakanda Forever\u003cbr>\nElvis\u003cbr>\nThe Whale\u003c/i>\u003c/p>\n\n",
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"excerpt": "The sci-fi indie’s nominations include acting nods for Michelle Yeoh, Ke Huy Quan, Stephanie Hsu and Jamie Lee Curtis.",
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"description": "The sci-fi indie’s nominations include acting nods for Michelle Yeoh, Ke Huy Quan, Stephanie Hsu and Jamie Lee Curtis.",
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"headline": "‘Everything Everywhere All at Once’ Leads With 11 Oscar Nominations",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The multiverse-skipping sci-fi indie hit \u003ci>Everything Everywhere All at Once\u003c/i> led nominations to the 95th Academy Awards as Hollywood heaped honors on big-screen spectacles like \u003ci>Top Gun: Maverick\u003c/i> and \u003ci>Avatar: The Way of Water\u003c/i> a year after a streaming service won best picture for the first time.\u003c/p>\n\u003cp>Daniel Scheinert and Daniel Kwan’s \u003ci>Everything Everywhere All at Once\u003c/i> landed a leading 11 nominations on Tuesday, including nods for Michelle Yeoh and comeback kid Ke Huy Quan, the former child star of \u003ci>Indiana Jones and the Temple of Doom\u003c/i>. Released back in March, the A24 film has proved an unlikely Oscar heavyweight against the expectations of even its makers. Yeoh became the first Asian actor nominated for best actress.\u003c/p>\n\u003cp>“Even just to be nominated means validation, love, from your peers,” said an “overwhelmed” Yeoh speaking by phone from London. “What it means for the rest of the Asians around the world, not just in America but globally, is to say we have a seat at the table. We finally have a seat at the table. We are being recognized and being seen.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 10 movies up for best picture are: \u003ci>Everything Everywhere All at Once\u003c/i>, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13920702/a-farmer-gets-dumped-by-his-best-friend-in-the-terrific-the-banshees-of-inisherin\">The Banshees of Inisherin\u003c/a>\u003c/i>, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13921398/see-how-a-young-steven-spielberg-fell-in-love-with-film-in-the-fabelmans\">The Fabelmans\u003c/a>\u003c/i>, \u003ci>Tár\u003c/i>, \u003ci>Top Gun: Maverick\u003c/i>, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13922812/review-avatar-way-of-water-james-cameron\">Avatar: The Way of Water\u003c/a>\u003c/i>, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13915163/baz-luhrmanns-elvis-is-all-sequins-no-soul\">Elvis\u003c/a>\u003c/i>, \u003ci>All Quiet on the Western Front\u003c/i>, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13923296/women-talking-sarah-polley-review-mennonite-miriam-toews\">Women Talking\u003c/a>\u003c/i> and \u003ci>Triangle of Sadness\u003c/i>.\u003c/p>\n\u003cp>Nominations were announced Tuesday from the academy’s Samuel Goldwyn Theater in Beverly Hills, California, by Riz Ahmed and Allison Williams. If last year’s Oscars were dominated by streaming — Apple TV+’s \u003ci>CODA\u003c/i> won best picture and Netflix landed a leading 27 nominations — movies that drew moviegoers to multiplexes after two years of pandemic make up many of this year’s top contenders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the first time, two sequels — \u003ci>Top Gun: Maverick\u003c/i> and \u003ci>Avatar: The Way of Water\u003c/i> — were nominated for best picture. The two films together account for some $3.5 billion in box office. Tom Cruise missed out on an acting nomination, but \u003ci>Top Gun: Maverick\u003c/i> — often credited with bringing many moviegoers back to theaters — walked away with seven nominations, including best sound, best visual effects and best song for Lada Gaga’s “Hold My Hand.” Ryan Coogler’s \u003ci>Black Panther: Wakanda Forever\u003c/i>, made in the wake of Chadwick Boseman’s death, also scored five nominations, including the first acting nod for a performance in a Marvel movie: Angela Bassett, the likely favorite to win best supporting actress.\u003c/p>\n\u003cfigure id=\"attachment_13922633\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/ap22342673136312_wide-6d7539f18653cf3d4ba249c293efa57a7726e824-scaled-e1670872640646.jpg\" alt=\"An older man sits dejected on a simple wooden chair inside a cottage. Outside his window, another man stares inside, looking concerned.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13922633\">\u003cfigcaption class=\"wp-caption-text\">Brendan Gleeson and Colin Farrell in ‘The Banshees of Inisherin.’ \u003ccite>(Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going by earlier guild nominations, Martin McDonagh’s Ireland-set dark comedy \u003ci>The Banshees of Inisherin\u003c/i> may be the stiffest competition for \u003ci>Everything Everywhere All at Once\u003c/i> at the Oscars. The Searchlight Pictures film landed nine nominations Tuesday, including nods for McDonagh’s directing and screenplay, and a quartet of acting nominations: Colin Farrell for best actor, Kerry Condon for best supporting actress and both Brendan Gleeson and Barry Keoghan for best supporting actor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Baz Luhrmann’s bedazzled biopic \u003ci>Elvis\u003c/i> — another summer box-office hit — came away with eight nominations, including a best actor nod for star Austin Butler and nominations for its costumes, sound and production design.\u003c/p>\n\u003cp>Though Steven Spielberg’s \u003ci>The Fabelmans\u003c/i> struggled to catch on with audiences, the director’s autobiographical coming-of-age tale landed Spielberg his 20th Oscar nomination and eighth nod for best-director. John Williams, his longtime composer, extended his record for the most Oscar nominations for a living person. Williams’ 53rd nominations trails only Walt Disney’s 59. \u003ci>The Fabelmans\u003c/i> marks Spielberg’s 12th nomination as a producer for best picture.\u003c/p>\n\u003cp>In the ultra-competitive best actress race, \u003ci>Fabelmans\u003c/i> star Michelle Williams was nominated after being passed over by the Screen Actors Guild. The other nominees for best actress are: Ana de Armas, \u003ci>Blonde\u003c/i>; Cate Blanchett, \u003ci>Tár\u003c/i> and Andrea Riseborough, who emerged as a late contender after celebrities rallied around her performance as an alcoholic West Texas mother in the little-seen \u003ci>To Leslie\u003c/i>. Notably left out of the category were Viola Davis (\u003ci>Woman King\u003c/i>) and Danielle Deadwyler (\u003ci>Till\u003c/i>).\u003c/p>\n\u003cfigure id=\"attachment_13923014\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13923014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/tar-001_tar_fp_00001_r_rgb-1ec4c4a0a1e218a8838e408fd3728aadd4e08160-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Cate Blanchett plays a world-renowned conductor in the film ‘Tár.’ \u003ccite>(Courtesy of Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Only one streaming title broke into the best picture field: The German WWI film \u003ci>All Quiet on the Western Front\u003c/i>. Though Netflix for the first time in years lacks a possible best picture frontrunner, \u003ci>All Quiet on the Western Front\u003c/i> landed a better-than-expected nine nominations. The streaming service also has the top animated film contender in \u003ci>Guillermo del Toro’s Pinocchio\u003c/i>, which was nominated for best animated feature.\u003c/p>\n\u003cp>Along with Butler and Farrell, the best actor nominees are: Brendan Fraser, hailed for his comeback performance as an overweight shut-in in \u003ci>The Whale\u003c/i>, Bill Nighy for \u003ci>Living\u003c/i> and, in a surprise for one of the most critically lauded films of the year, Paul Mescal, for Charlotte Wells’ father-daughter tale \u003ci>Aftersun\u003c/i>.\u003c/p>\n\u003cp>Brian Tyree Henry landed his first Oscar nomination for his supporting turn in \u003ci>Causeway\u003c/i>, in which he starred opposite Jennifer Lawrence. In the supporting actress category, two \u003ci>Everything Everywhere All at Once\u003c/i> actors — Jamie Lee Curtis and Stephanie Hsu — were nominated along with Hong Chau (\u003ci>The Whale\u003c/i>), Condon and Bassett.\u003c/p>\n\u003cp>After the best director category saw back-to-back landmark wins for female filmmakers — Chloé Zhao (\u003ci>Nomadland\u003c/i>) in 2021, Jane Campion (\u003ci>The Power of the Dog\u003c/i>) last year — no women were nominated for best director. But in the best picture group, one of the up-for-grabs final slots went to Sarah Polley’s \u003ci>Women Talking\u003c/i>, a parable of sexual assault and justice.\u003c/p>\n\u003cfigure id=\"attachment_13923301\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Foy.jpg\" alt=\"Young girl in a woman's lap and woman beside her, all in modest clothing.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13923301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Foy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Foy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Foy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Foy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Foy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Foy-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emily Mitchell, Claire Foy and Rooney Mara in a scene from ‘Women Talking.’ \u003ccite>(Orion Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nominees for international film are: \u003ci>All Quiet on the Western Front\u003c/i> (Germany); \u003ci>Argentina, 1985\u003c/i> (Argentina); \u003ci>Close\u003c/i> (Belgium); \u003ci>EO\u003c/i> (Poland); \u003ci>The Quiet Girl\u003c/i> (Ireland).\u003c/p>\n\u003cp>The nominees for best animated film are: \u003ci>Guillermo del Toro’s Pinocchio\u003c/i>; \u003ci>Marcel the Shell With Shoes On\u003c/i>; \u003ci>Puss in Boots: The Last Wish\u003c/i>; \u003ci>The Sea Beast\u003c/i>; \u003ci>Turning Red\u003c/i>.\u003c/p>\n\u003cp>The Academy of Motion Pictures Arts & Sciences will surely celebrate a best picture field populated with blockbusters; according to data firm Comscore, their collective domestic box office of $1.574 billion is the most at the time of nominations ever. Ratings for the telecast have typically been higher in years with much-watched films as favorites. \u003c/p>\n\u003cp>But larger concerns are swirling around the movie business. Last year saw flashes of triumphant resurrection for theaters, like the success of \u003ci>Top Gun: Maverick\u003c/i>, after two years of pandemic. But partially due to a less steady stream of major releases, ticket sales for the year recovered only about 70% of pre-pandemic business. Regal Cinemas, the nation’s second-largest chain, announced the closure of 39 cinemas this month.\u003c/p>\n\u003cp>At the same time, storm clouds swept into the streaming world after years of once-seemingly boundless growth. Stocks plunged as Wall Street looked to streaming services to earn profits, not just add subscribers. A retrenchment has followed, as the industry again enters a new uncertain chapter.\u003c/p>\n\u003cp>Last year’s Oscar broadcast drew 16.6 million viewers, according to Nielsen, up from the record-low audience of 10.5 million for the pandemic-marred 2021 telecast. This year, ABC is bringing back Jimmy Kimmel to host the March 12 ceremony.\u003c/p>\n\u003cp>The full list of nominees is below:\u003c/p>\n\u003ch2>Best picture\u003c/h2>\n\u003cp>\u003ci>All Quiet on the Western Front\u003cbr>\nAvatar: The Way of Water\u003cbr>\nThe Banshees of Inisherin\u003cbr>\nElvis\u003cbr>\nEverything Everywhere All at Once\u003cbr>\nThe Fabelmans\u003cbr>\nTár\u003cbr>\nTop Gun: Maverick\u003cbr>\nTriangle of Sadness\u003cbr>\nWomen Talking\u003c/i>\u003c/p>\n\u003ch2>Best actor\u003c/h2>\n\u003cp>Brendan Fraser, \u003ci>The Whale\u003c/i>\u003cbr>\nColin Farrell, \u003ci>The Banshees of Inisherin\u003c/i>\u003cbr>\nAustin Butler, \u003ci>Elvis\u003c/i>\u003cbr>\nBill Nighy, \u003ci>Living\u003c/i>\u003cbr>\nPaul Mescal, \u003ci>Aftersun\u003c/i>\u003c/p>\n\u003ch2>Best actress\u003c/h2>\n\u003cp>Ana de Armas, \u003ci>Blonde\u003c/i>\u003cbr>\nCate Blanchett, \u003ci>Tár\u003c/i>\u003cbr>\nAndrea Riseborough, \u003ci>To Leslie\u003c/i>\u003cbr>\nMichelle Williams, \u003ci>The Fabelmans\u003c/i>\u003cbr>\nMichelle Yeoh, \u003ci>Everything Everywhere All at Once\u003c/i>\u003c/p>\n\u003ch2>Best director\u003c/h2>\n\u003cp>Martin McDonagh, \u003ci>The Banshees of Inisherin\u003c/i>\u003cbr>\nDaniel Kwan and Daniel Scheinert, \u003ci>Everything Everywhere All at Once\u003c/i>\u003cbr>\nSteven Spielberg, \u003ci>The Fabelmans\u003c/i>\u003cbr>\nTodd Field, \u003ci>Tár\u003c/i>\u003cbr>\nRuben Ostlund, \u003ci>Triangle of Sadness\u003c/i>\u003c/p>\n\u003ch2>Best supporting actress\u003c/h2>\n\u003cp>Angela Bassett, \u003ci>Black Panther: Wakanda Forever\u003c/i>\u003cbr>\nHong Chau, \u003ci>The Whale\u003c/i>\u003cbr>\nKerry Condon, \u003ci>The Banshees of Inisherin\u003c/i>\u003cbr>\nStephanie Hsu, \u003ci>Everything Everywhere All at Once\u003c/i>\u003cbr>\nJamie Lee Curtis, \u003ci>Everything Everywhere All at Once\u003c/i>\u003c/p>\n\u003ch2>Best supporting actor\u003c/h2>\n\u003cp>Brian Tyree Henry, \u003ci>Causeway\u003c/i>\u003cbr>\nJudd Hirsch, \u003ci>The Fabelmans\u003c/i>\u003cbr>\nBrendan Gleeson, \u003ci>Banshees on Inisherin\u003c/i>\u003cbr>\nBarry Keoghan, \u003ci>Banshees of Inisherin\u003c/i>\u003cbr>\nKe Huy Quan, \u003ci>Everything Everywhere All at Once\u003c/i>\u003c/p>\n\u003ch2>International film\u003c/h2>\n\u003cp>\u003ci>All Quiet on the Western Front\u003c/i> (Germany)\u003cbr>\n\u003ci>Argentina, 1985\u003c/i> (Argentina)\u003cbr>\n\u003ci>Close\u003c/i> (Belgium)\u003cbr>\n\u003ci>EO\u003c/i> (Poland)\u003cbr>\n\u003ci>The Quiet Girl\u003c/i> (Ireland)\u003c/p>\n\u003ch2>Best animated feature\u003c/h2>\n\u003cp>\u003ci>Guillermo del Toro’s Pinocchio\u003cbr>\nMarcel the Shell With Shoes On\u003cbr>\nPuss in Boots: The Last Wish\u003cbr>\nThe Sea Beast\u003cbr>\nTurning Red\u003c/i>\u003c/p>\n\u003ch2>Original screenplay\u003c/h2>\n\u003cp>\u003ci>Everything Everywhere All at Once\u003cbr>\nThe Banshees of Inisherin\u003cbr>\nThe Fabelmans\u003cbr>\nTár\u003cbr>\nTriangle of Sadness\u003c/i>\u003c/p>\n\u003ch2>Adapted screenplay\u003c/h2>\n\u003cp>\u003ci>All Quiet on the Western Front\u003cbr>\nGlass Onion: A Knives Out Mystery\u003cbr>\nLiving\u003cbr>\nTop Gun: Maverick\u003cbr>\nWomen Talking\u003c/i>\u003c/p>\n\u003ch2>Visual Effects\u003c/h2>\n\u003cp>\u003ci>Avatar: The Way of Water\u003cbr>\nTop Gun: Maverick\u003cbr>\nThe Batman\u003cbr>\nBlack Panther: Wakanda Forever\u003cbr>\nAll Quiet on the Western Front\u003c/i>\u003c/p>\n\u003ch2>Music (original score)\u003c/h2>\n\u003cp>Volker Bertelmann, \u003ci>All Quiet on the Western Front\u003c/i>\u003cbr>\nJustin Hurwitz, \u003ci>Babylon\u003c/i>\u003cbr>\nCarter Burwell, \u003ci>The Banshees of Inisherin\u003c/i>\u003cbr>\nSon Lux, \u003ci>Everything Everywhere All at Once\u003c/i>\u003cbr>\nJohn Williams, \u003ci>The Fabelmans\u003c/i>\u003c/p>\n\u003ch2>Original song\u003c/h2>\n\u003cp>“Applause,” from \u003ci>Tell It Like a Woman\u003c/i>\u003cbr>\n“Hold My Hand,” from \u003ci>Top Gun: Maverick\u003c/i>\u003cbr>\n“Lift Me Up” from \u003ci>Black Panther: Wakanda Forever\u003c/i>\u003cbr>\n“Naatu Naatu” from \u003ci>RRR\u003c/i>\u003cbr>\n“This Is a Life” from \u003ci>Everything Everywhere All at Once\u003c/i>\u003c/p>\n\u003ch2>Documentary feature\u003c/h2>\n\u003cp>\u003ci>All That Breathes\u003cbr>\nAll the Beauty and the Bloodshed\u003cbr>\nFire of Love\u003cbr>\nA House Made of Splinters\u003cbr>\nNavalny\u003c/i>\u003c/p>\n\u003ch2>Cinematography\u003c/h2>\n\u003cp>James Friend, \u003ci>All Quiet on the Western Front\u003c/i>\u003cbr>\nDarius Khondj, \u003ci>Bardo, False Chronicle of a Handful of Truths\u003c/i>\u003cbr>\nMandy Walker, \u003ci>Elvis\u003c/i>\u003cbr>\nRoger Deakins, \u003ci>Empire of Light\u003c/i>\u003cbr>\nFlorian Hoffmeister, \u003ci>Tár\u003c/i>\u003c/p>\n\u003ch2>Costume design\u003c/h2>\n\u003cp>\u003ci>Babylon\u003cbr>\nBlack Panther: Wakanda Forever\u003cbr>\nElvis\u003cbr>\nEverything Everywhere All at Once\u003cbr>\nMrs. Harris Goes to Paris\u003c/i>\u003c/p>\n\u003ch2>Animated short\u003c/h2>\n\u003cp>\u003ci>The Boy, the Mole, the Fox and the Horse\u003cbr>\nThe Flying Sailor\u003cbr>\nIce Merchants\u003cbr>\nMy Year of Dicks\u003cbr>\nAn Ostrich Told Me the World is Fake and I Think I Believe it\u003c/i>\u003c/p>\n\u003ch2>Live action short\u003c/h2>\n\u003cp>\u003ci>An Irish Goodbye\u003cbr>\nIvalu\u003cbr>\nLe Pupille\u003cbr>\nNight Ride\u003cbr>\nThe Red Suitcase\u003c/i>\u003c/p>\n\u003ch2>Documentary short\u003c/h2>\n\u003cp>\u003ci>The Elephant Whisperers\u003cbr>\nHaulout\u003cbr>\nHow Do You Measure a Year?\u003cbr>\nThe Martha Mitchell Effect\u003cbr>\nStranger at the Gate\u003c/i>\u003c/p>\n\u003ch2>Film editing\u003c/h2>\n\u003cp>\u003ci>The Banshees of Inisherin\u003cbr>\nElvis\u003cbr>\nEverything Everywhere All at Once\u003cbr>\nTár\u003cbr>\nTop Gun: Maverick\u003c/i>\u003c/p>\n\u003ch2>Sound\u003c/h2>\n\u003cp>\u003ci>All Quiet on the Western Front\u003cbr>\nAvatar: The Way of Water\u003cbr>\nThe Batman\u003cbr>\nElvis\u003cbr>\nTop Gun: Maverick\u003c/i>\u003c/p>\n\u003ch2>Production design\u003c/h2>\n\u003cp>\u003ci>All Quiet on the Western Front\u003cbr>\nAvatar: The Way of Water\u003cbr>\nBabylon\u003cbr>\nElvis\u003cbr>\nThe Fabelmans\u003c/i>\u003c/p>\n\u003ch2>Makeup and hairstyling\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘No Straight Lines’ Traces Transformation Through Comic Books",
"headTitle": "‘No Straight Lines’ Traces Transformation Through Comic Books | KQED",
"content": "\u003cp>Pop culture, by definition, is disposable mass entertainment, yet it frequently tackles crucial subjects. Horror movies, for example, express the latent fears of a society. Comic books, especially gay and lesbian strips, tell stories and make characters visible that don’t exist anywhere else.\u003c/p>\n\u003cp>“You have to understand that as a kid I read \u003cem>Superman\u003c/em>, \u003cem>Batman\u003c/em> and the nicey nicey ones like \u003cem>Archie\u003c/em>,” Vivian Kleiman relates. “By contrast, queer comics were about us and our lives. We couldn’t talk to our family, or if we did we feared all kinds of stuff. My older sister agreed, when I came out to her, that if I told my mom I was a lesbian she would say the Prayer of the Dead over me. She would sit shiva, as a good Orthodox woman would do at that time.”\u003c/p>\n\u003cp>After she left her hometown of Philadelphia, Kleiman gravitated to Berkeley. Like so many lesbians in major cities around the country in the ’80s, the first queer comic strip she discovered — in the feminist press, which was colloquially known as the lesbian press — was Alison Bechdel’s \u003cem>Dykes to Watch Out For\u003c/em>.\u003c/p>\n\u003cp>“To actually find our voices and our images, though compressed and consolidated in these little haiku, three or four-panel stories, was such a gift,” the East Bay documentary filmmaker marvels. “It was literally a lifeline.”\u003c/p>\n\u003cfigure id=\"attachment_13923962\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13923962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">East Bay filmmaker Vivian Kleiman. \u003ccite>(Compadre Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kleiman’s latest work, \u003cem>No Straight Lines: The Rise of Queer Comics\u003c/em>, closed the Frameline festival at the Castro in 2021 (after premiering at Tribeca) and eventually screened at nearly a hundred festivals. The doc receives its national television broadcast Monday, Jan. 23 on KQED in the \u003ci>Independent Lens\u003c/i> series (then streams online for free through April 22).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kleiman adapted Justin Hall’s 2012 anthology, \u003cem>No Straight Lines: Four Decades of Queer Comics\u003c/em>, which featured some 70 artists. Hall imagined the collated images would translate onscreen, but Kleiman wasn’t interested in, as she puts it, “an encyclopedic list of who did what when.” Instead, she narrowed the field to five cartoonists: Mary Wings, Howard Cruse, Jennifer Camper, Rupert Kinnard and Bechdel.\u003c/p>\n\u003cp>“My goal was to give the viewer a more intimate relationship to some of the artists’ lives,” Kleiman explains over coffee drinks at a café near her Berkeley home. “Through their personal stories we also get a history of the art form, starting from somebody seated on their couch scratching away with pen and paper [all the way] to web comics.”\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13923606,arts_13921425,arts_13890579\"]In addition, \u003cem>No Straight Lines\u003c/em> is a social history. Cruse, then a Madison Avenue graphic designer, was on Christopher Street in 1969 when the Stonewall Inn’s clientele got fed up with police harassment. He later recounted his experience in comic book form. In the ’70s, Kinnard wrote a popular weekly strip featuring a Black hero for his Iowa college newspaper — and revealed the character was gay.\u003c/p>\n\u003cp>Along the way, we get a tour of counterculture and DIY publishing from underground comics to alternative weeklies, on to ’zines and graphic novels (notably Cruse’s award-winning \u003cem>Stuck Rubber Baby\u003c/em> and Bechdel’s best-selling \u003cem>Fun Home\u003c/em>). All economics is personal: Self-expression was the artists’ primary driver, but making a living was important, too.\u003c/p>\n\u003cp>Several elements elevate \u003cem>No Straight Lines\u003c/em> above the typical historical doc. The five artists don’t recount familiar (to them) anecdotes but vividly re-experience their pivotal moments — how it felt to create and draw queer experiences and encounters, or discover them for the first time. First-person testimony from good storytellers can’t be topped, least of all by dry analysis.\u003c/p>\n\u003cp>“I had a lot of pressure to include academics,” Kleiman recalls, “who would tell us what the meaning was behind all the stories we were hearing. And I knew from the absolute get-go there would not be one academic or expert in the field. People don’t need outsiders to explain themselves.”\u003c/p>\n\u003cp>But Kleiman came to recognize that another group of voices was necessary: Younger cartoonists.\u003c/p>\n\u003cp>“When I had the first or second rough cut, I took a look at it, sat back and thought: Interesting narrative, well-edited. But I wouldn’t watch it a second time. What’s missing? A sense of vitality and gutsiness and rawness, which is what the comics were about and what the artists themselves were about.”\u003c/p>\n\u003cp>https://youtu.be/c_qO8wZwKtA\u003c/p>\n\u003cp>Kleiman’s five subjects, now in their 70s, 60s and 50s, didn’t have the edge, the hunger, something to prove like they’d had in their 20s. So when the international Queers & Comics Conference was held in the Bay Area, the filmmaker tried a low-cost experiment. She hired a crew and set up a camera, and conducted 10-minute interviews with a parade of next-generation comic book artists.\u003c/p>\n\u003cp>“I didn’t know their names, I didn’t know their artwork, I didn’t know anything, and we just started to talk,” Kleiman says. “They didn’t know a lot of the pioneers’ work. I had expected an attitude that I had at their age, which was ‘the old people don’t know nothing. We don’t need them. They have no meaning to us.’ Instead, each and every one was grateful and acknowledged how they were the beneficiaries of the work the others had done and the challenges they had faced and overcome.”\u003c/p>\n\u003cp>Their presence in \u003cem>No Straight Lines\u003c/em> provides more than youthful energy. They lift the film out of the realm of history and into the perennial present. Self-acceptance, self-expression, coming out — themes that queer comic book artists explored from the beginning — are both universal and timeless, regardless of gender identity, sexual orientation or physical appearance.\u003c/p>\n\u003cp>The prevailing direction of \u003cem>No Straight Lines\u003c/em>, as with many docs about the queer experience in America, is that things have gotten better. In particular, Alison Bechdel’s unlikely career path to mainstream acceptance marks a breakthrough for lesbians. Close to throwing in the towel after her alternative newspaper outlets folded, she published an unexpectedly popular graphic novel that, even more improbably, birthed an acclaimed Broadway musical. \u003c/p>\n\u003cp>[aside postID='arts_13923268']Maia Kobabe, one of the young artists interviewed by the filmmaker at the Queers & Comics Conference, likely has a different view of progress. “\u003cem>Gender Queer: A Memoir\u003c/em>, Maia’s first published graphic memoir, today is the most banned book in America,” Kleiman says. “It walks you through the process of Maia coming to the realization that Maia is gender-queer. I don’t think there’s any exposed body parts [that prompted objections]; it was the [book’s] candor and the acceptance. Meanwhile, sales have skyrocketed. It’s wonderful and it’s horrific.”\u003c/p>\n\u003cp>The telecast of \u003cem>No Straight Lines\u003c/em> offers another measure of current conservative attitudes toward art. PBS standards for prime-time broadcast now exceed FCC regulations, Kleiman says, so she had to cover the multitude of unclothed body parts in the comic book art. (Instead of black bars, she amusingly employs rainbow patches.)\u003c/p>\n\u003cp>Early in her career, Kleiman worked with the late Bay Area filmmaker Marlon Riggs on his renowned documentaries \u003cem>Tongues Untied\u003c/em> (1991) and \u003cem>Color Adjustment\u003c/em> (1992). The former film is a personal, poetic meditation on Black homosexuality that includes sequences of physical affection. \u003c/p>\n\u003cp>“So \u003cem>Tongues Untied\u003c/em>,” Kleiman declares, “which was broadcast nationally on PBS in 1991 without one change to the director’s cut, today would not be given a slot on prime-time television without some blurring and bleeping.”\u003c/p>\n\u003cp>Of course, Kleiman is nonetheless elated that her film is airing on television. She doesn’t come out and say it, but she won’t be surprised if she meets a young artist one day who was inspired to draw comics after seeing \u003cem>No Straight Lines\u003c/em>. \u003c/p>\n\u003cp>“The wonderful thing about comics is that it’s totally accessible,” she says. “It doesn’t take much. It can be as simple as pen and paper, which many young people still do and prefer. Some people do it without any training at all.”\u003c/p>\n\u003cp>With a smile, Kleiman adds, “And some people benefit from a class, and having critical feedback that helps them learn more about narrative and structure and using the shape of the page.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘No Straight Lines: The Rise of Queer Comics’ airs on \u003ci>Independent Lens\u003c/i> on Jan. 23, then streams online for free through April 22. \u003ca href=\"https://www.pbs.org/independentlens/documentaries/no-straight-lines/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "East Bay filmmaker Vivian Kleiman’s foray into queer comics history is serious fun.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pop culture, by definition, is disposable mass entertainment, yet it frequently tackles crucial subjects. Horror movies, for example, express the latent fears of a society. Comic books, especially gay and lesbian strips, tell stories and make characters visible that don’t exist anywhere else.\u003c/p>\n\u003cp>“You have to understand that as a kid I read \u003cem>Superman\u003c/em>, \u003cem>Batman\u003c/em> and the nicey nicey ones like \u003cem>Archie\u003c/em>,” Vivian Kleiman relates. “By contrast, queer comics were about us and our lives. We couldn’t talk to our family, or if we did we feared all kinds of stuff. My older sister agreed, when I came out to her, that if I told my mom I was a lesbian she would say the Prayer of the Dead over me. She would sit shiva, as a good Orthodox woman would do at that time.”\u003c/p>\n\u003cp>After she left her hometown of Philadelphia, Kleiman gravitated to Berkeley. Like so many lesbians in major cities around the country in the ’80s, the first queer comic strip she discovered — in the feminist press, which was colloquially known as the lesbian press — was Alison Bechdel’s \u003cem>Dykes to Watch Out For\u003c/em>.\u003c/p>\n\u003cp>“To actually find our voices and our images, though compressed and consolidated in these little haiku, three or four-panel stories, was such a gift,” the East Bay documentary filmmaker marvels. “It was literally a lifeline.”\u003c/p>\n\u003cfigure id=\"attachment_13923962\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" class=\"size-full wp-image-13923962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/NOSTRAIGHTLINES_PubStills_Headshot_VivianKleiman_Director_1200-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">East Bay filmmaker Vivian Kleiman. \u003ccite>(Compadre Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kleiman’s latest work, \u003cem>No Straight Lines: The Rise of Queer Comics\u003c/em>, closed the Frameline festival at the Castro in 2021 (after premiering at Tribeca) and eventually screened at nearly a hundred festivals. The doc receives its national television broadcast Monday, Jan. 23 on KQED in the \u003ci>Independent Lens\u003c/i> series (then streams online for free through April 22).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kleiman adapted Justin Hall’s 2012 anthology, \u003cem>No Straight Lines: Four Decades of Queer Comics\u003c/em>, which featured some 70 artists. Hall imagined the collated images would translate onscreen, but Kleiman wasn’t interested in, as she puts it, “an encyclopedic list of who did what when.” Instead, she narrowed the field to five cartoonists: Mary Wings, Howard Cruse, Jennifer Camper, Rupert Kinnard and Bechdel.\u003c/p>\n\u003cp>“My goal was to give the viewer a more intimate relationship to some of the artists’ lives,” Kleiman explains over coffee drinks at a café near her Berkeley home. “Through their personal stories we also get a history of the art form, starting from somebody seated on their couch scratching away with pen and paper [all the way] to web comics.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In addition, \u003cem>No Straight Lines\u003c/em> is a social history. Cruse, then a Madison Avenue graphic designer, was on Christopher Street in 1969 when the Stonewall Inn’s clientele got fed up with police harassment. He later recounted his experience in comic book form. In the ’70s, Kinnard wrote a popular weekly strip featuring a Black hero for his Iowa college newspaper — and revealed the character was gay.\u003c/p>\n\u003cp>Along the way, we get a tour of counterculture and DIY publishing from underground comics to alternative weeklies, on to ’zines and graphic novels (notably Cruse’s award-winning \u003cem>Stuck Rubber Baby\u003c/em> and Bechdel’s best-selling \u003cem>Fun Home\u003c/em>). All economics is personal: Self-expression was the artists’ primary driver, but making a living was important, too.\u003c/p>\n\u003cp>Several elements elevate \u003cem>No Straight Lines\u003c/em> above the typical historical doc. The five artists don’t recount familiar (to them) anecdotes but vividly re-experience their pivotal moments — how it felt to create and draw queer experiences and encounters, or discover them for the first time. First-person testimony from good storytellers can’t be topped, least of all by dry analysis.\u003c/p>\n\u003cp>“I had a lot of pressure to include academics,” Kleiman recalls, “who would tell us what the meaning was behind all the stories we were hearing. And I knew from the absolute get-go there would not be one academic or expert in the field. People don’t need outsiders to explain themselves.”\u003c/p>\n\u003cp>But Kleiman came to recognize that another group of voices was necessary: Younger cartoonists.\u003c/p>\n\u003cp>“When I had the first or second rough cut, I took a look at it, sat back and thought: Interesting narrative, well-edited. But I wouldn’t watch it a second time. What’s missing? A sense of vitality and gutsiness and rawness, which is what the comics were about and what the artists themselves were about.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/c_qO8wZwKtA'\n title='//www.youtube.com/embed/c_qO8wZwKtA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kleiman’s five subjects, now in their 70s, 60s and 50s, didn’t have the edge, the hunger, something to prove like they’d had in their 20s. So when the international Queers & Comics Conference was held in the Bay Area, the filmmaker tried a low-cost experiment. She hired a crew and set up a camera, and conducted 10-minute interviews with a parade of next-generation comic book artists.\u003c/p>\n\u003cp>“I didn’t know their names, I didn’t know their artwork, I didn’t know anything, and we just started to talk,” Kleiman says. “They didn’t know a lot of the pioneers’ work. I had expected an attitude that I had at their age, which was ‘the old people don’t know nothing. We don’t need them. They have no meaning to us.’ Instead, each and every one was grateful and acknowledged how they were the beneficiaries of the work the others had done and the challenges they had faced and overcome.”\u003c/p>\n\u003cp>Their presence in \u003cem>No Straight Lines\u003c/em> provides more than youthful energy. They lift the film out of the realm of history and into the perennial present. Self-acceptance, self-expression, coming out — themes that queer comic book artists explored from the beginning — are both universal and timeless, regardless of gender identity, sexual orientation or physical appearance.\u003c/p>\n\u003cp>The prevailing direction of \u003cem>No Straight Lines\u003c/em>, as with many docs about the queer experience in America, is that things have gotten better. In particular, Alison Bechdel’s unlikely career path to mainstream acceptance marks a breakthrough for lesbians. Close to throwing in the towel after her alternative newspaper outlets folded, she published an unexpectedly popular graphic novel that, even more improbably, birthed an acclaimed Broadway musical. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Maia Kobabe, one of the young artists interviewed by the filmmaker at the Queers & Comics Conference, likely has a different view of progress. “\u003cem>Gender Queer: A Memoir\u003c/em>, Maia’s first published graphic memoir, today is the most banned book in America,” Kleiman says. “It walks you through the process of Maia coming to the realization that Maia is gender-queer. I don’t think there’s any exposed body parts [that prompted objections]; it was the [book’s] candor and the acceptance. Meanwhile, sales have skyrocketed. It’s wonderful and it’s horrific.”\u003c/p>\n\u003cp>The telecast of \u003cem>No Straight Lines\u003c/em> offers another measure of current conservative attitudes toward art. PBS standards for prime-time broadcast now exceed FCC regulations, Kleiman says, so she had to cover the multitude of unclothed body parts in the comic book art. (Instead of black bars, she amusingly employs rainbow patches.)\u003c/p>\n\u003cp>Early in her career, Kleiman worked with the late Bay Area filmmaker Marlon Riggs on his renowned documentaries \u003cem>Tongues Untied\u003c/em> (1991) and \u003cem>Color Adjustment\u003c/em> (1992). The former film is a personal, poetic meditation on Black homosexuality that includes sequences of physical affection. \u003c/p>\n\u003cp>“So \u003cem>Tongues Untied\u003c/em>,” Kleiman declares, “which was broadcast nationally on PBS in 1991 without one change to the director’s cut, today would not be given a slot on prime-time television without some blurring and bleeping.”\u003c/p>\n\u003cp>Of course, Kleiman is nonetheless elated that her film is airing on television. She doesn’t come out and say it, but she won’t be surprised if she meets a young artist one day who was inspired to draw comics after seeing \u003cem>No Straight Lines\u003c/em>. \u003c/p>\n\u003cp>“The wonderful thing about comics is that it’s totally accessible,” she says. “It doesn’t take much. It can be as simple as pen and paper, which many young people still do and prefer. Some people do it without any training at all.”\u003c/p>\n\u003cp>With a smile, Kleiman adds, “And some people benefit from a class, and having critical feedback that helps them learn more about narrative and structure and using the shape of the page.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘No Straight Lines: The Rise of Queer Comics’ airs on \u003ci>Independent Lens\u003c/i> on Jan. 23, then streams online for free through April 22. \u003ca href=\"https://www.pbs.org/independentlens/documentaries/no-straight-lines/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "When Her Mother Goes ‘Missing,’ a Gen-Z Teen Takes up a Tense Search on Screens",
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"content": "\u003cp>It is a truth universally acknowledged that repetition often destroys elegance.\u003c/p>\n\u003cp>Compare the elegance of \u003cem>Speed\u003c/em> (if this bus slows down, it will blow up) with the clumsy \u003cem>Speed 2: Cruise Control \u003c/em>(this cruise ship is going to very slowly run into a beach). The elegance of \u003cem>The Fast and the Furious \u003c/em>(street racing is fun!) with Ludacris and Tyrese Gibson ending up in space. The elegance of \u003cem>Die Hard \u003c/em>(one cop tries to rescue a building full of hostages) with … well, any other \u003cem>Die Hard \u003c/em>movie.\u003c/p>\n\u003cp>[aside postid='arts_13923818']The 2014 horror film \u003cem>Unfriended\u003c/em>, an early entry in the “screenlife” category in which everything plays out on computer screens, is formally elegant — simple, economical and effective. Mostly, you are just watching a group video call, with periodic visits to other places like Facebook or sketchy, unpleasantly believable forums where links seem like they could lead anywhere. And that video call, it turns out, is haunted, and will gradually knock off everybody on it. That’s the story; that’s the format. Screenlife has ties not just to “found-footage” movies (also formally elegant: \u003cem>The Blair Witch Project\u003c/em>), but to epistolary novels, too. In all these forms, the traditional telling of a story is replaced by the opportunity for the viewer/reader to examine the evidence that the story happened.\u003c/p>\n\u003cp>One of the producers of \u003cem>Unfriended \u003c/em>was Timur Bekmambetov, who was also a producer of not only its follow-up \u003cem>Unfriended: Dark Web\u003c/em>, but also the 2018 screenlife thriller \u003cem>Searching\u003c/em>. \u003cem>Searching\u003c/em> was directed by Aneesh Chaganty and stars John Cho as a father stumbling through the digital life of his teenage daughter trying to solve the mystery of her disappearance. And now, Bekmambetov is a producer of \u003cem>Missing\u003c/em>, which is a flashier, snazzier, and — yes — less formally elegant project written and directed by Nick Johnson and Will Merrick, who were editors on \u003cem>Searching\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Missing \u003c/em>stars Storm Reid as June, a bright and restless young woman whose mother, Grace (Nia Long), vanishes during a vacation to Colombia with her boyfriend, Kevin (Ken Leung). In an inversion of \u003cem>Searching’\u003c/em>s tense portrayal of a father who feels helpless and adrift in the complexities of his daughter’s highly connected life, \u003cem>Missing \u003c/em>makes June a Gen-Z’er who knows how to get around adults who reuse their passwords, don’t secure their devices, and thus leave themselves open to all manner of snooping. This is her environment; she is at home here on her screens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=seBixtcx19E\u003c/p>\n\u003cp>It’s a good thing June feels at ease with her tech, because 10 years after \u003cem>Unfriended\u003c/em>, her online life has grown far more complicated than that haunted video call. She has a Ring doorbell, she has voice-activated everything, she can chat with people around the world who are not in front of their computers, she inhabits a world full of live webcams, and home security systems have boomed. Her social media life isn’t about a Facebook page; it’s about bits and bobs scattered all over. She’s also not John Cho’s David from \u003cem>Searching\u003c/em>, who slowly explores one platform at a time, painstakingly dragging individual snippets of information out of the dark. June hops from window to window like a plate-spinner; following her “screenlife” investigation of her mother’s disappearance is dizzying. It is her \u003cem>expectation\u003c/em> that information she needs can be found somewhere, from her laptop. The editing has been accelerated and complicated by self-consciously inventive visual transitions, and regrettably, a lot of the simplicity has been lost.\u003c/p>\n\u003cp>[aside postid='arts_13891785']There is something bracingly confident, in retrospect, about \u003cem>Unfriended\u003c/em>, which plays out the boring acts of typing and scrolling in real time, the frustrations of trying over and over to click on things that cannot be clicked on. (Because it’s got a virus and that virus is … a ghost.) In classic horror style, what is unseen in that film is often more frightening than what is seen, and what is seen is limited by the format. While it’s a thriller rather than a horror film, \u003cem>Searching\u003c/em>, too, moves deliberately, making limited and effective use of hidden cameras, streaming, and other avenues that allow a found-footage style (more similar to \u003cem>Paranormal Activity \u003c/em>or \u003cem>The Blair Witch Project\u003c/em>) to take over from a pure screenlife style.\u003c/p>\n\u003cp>Much of \u003cem>Missing\u003c/em>, however, particularly late in its story, is more a found-footage film than a screenlife film. It doesn’t rely on messages, chats, forums, or that dance of typing and scrolling — it shows you a regular scene, but from the perspective of a camera that exists inside the story.\u003c/p>\n\u003cp>\u003cem>Missing \u003c/em>is not a bad film; it’s a good film. It’s smart, Reid is terrific, the thriller elements are gripping, the twists are surprising, and some of the moments in which June outsmarts people who are trying to cut her off from information she needs are highly satisfying. At the same time, it feels, in a way that’s a bit deflating, like a regression to the mean, where the repetition of this format across films (with perhaps greater and greater box-office expectations) makes them less and less formally interesting.\u003c/p>\n\u003cp>[aside postid='arts_13923783']June’s active, inventive exploration of online information is also, perhaps, part of the evolution of a concept that travels from the horror realm to the thriller realm, with the shift in intensity that suggests. Maybe if a thriller is about what frightens you, a horror film is about what frightens you \u003cem>most\u003c/em> — that’s an oversimplification and certainly not the genre definition, but it captures something about the difference between the adrenaline of thrillers and the visceral wallop of horror.\u003c/p>\n\u003cp>What frightens many of us \u003cem>most\u003c/em> is not peril itself, but the growing sense of helplessness and hopelessness that horror does so well. What June has at her disposal is a multiplicity of tools, of new avenues to explore. \u003cem>Missing \u003c/em>is a study of the ways in which the internet is full of a hundred ways to solve a problem; it’s a story about bending these tools to your will. \u003cem>Unfriended \u003c/em>was about the anonymous message, the blank page, the blinking cursor, the grayed-out option, the spinning ball, the baffling intrusion — online life when it doesn’t work.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But it’s hard not to wonder what a thriller would look like that had more faith in this format, that didn’t feel so beholden to found-footage films. It’s another truth universally acknowledged that limitations often spur creativity; \u003cem>Missing \u003c/em>without the benefit of quite so many accessible cameras for June to peek through would be an adventure all its own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+her+mother+goes+%27Missing%2C%27+a+Gen-Z+teen+takes+up+a+tense+search+on+screens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 2014 horror film \u003cem>Unfriended\u003c/em>, an early entry in the “screenlife” category in which everything plays out on computer screens, is formally elegant — simple, economical and effective. Mostly, you are just watching a group video call, with periodic visits to other places like Facebook or sketchy, unpleasantly believable forums where links seem like they could lead anywhere. And that video call, it turns out, is haunted, and will gradually knock off everybody on it. That’s the story; that’s the format. Screenlife has ties not just to “found-footage” movies (also formally elegant: \u003cem>The Blair Witch Project\u003c/em>), but to epistolary novels, too. In all these forms, the traditional telling of a story is replaced by the opportunity for the viewer/reader to examine the evidence that the story happened.\u003c/p>\n\u003cp>One of the producers of \u003cem>Unfriended \u003c/em>was Timur Bekmambetov, who was also a producer of not only its follow-up \u003cem>Unfriended: Dark Web\u003c/em>, but also the 2018 screenlife thriller \u003cem>Searching\u003c/em>. \u003cem>Searching\u003c/em> was directed by Aneesh Chaganty and stars John Cho as a father stumbling through the digital life of his teenage daughter trying to solve the mystery of her disappearance. And now, Bekmambetov is a producer of \u003cem>Missing\u003c/em>, which is a flashier, snazzier, and — yes — less formally elegant project written and directed by Nick Johnson and Will Merrick, who were editors on \u003cem>Searching\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Missing \u003c/em>stars Storm Reid as June, a bright and restless young woman whose mother, Grace (Nia Long), vanishes during a vacation to Colombia with her boyfriend, Kevin (Ken Leung). In an inversion of \u003cem>Searching’\u003c/em>s tense portrayal of a father who feels helpless and adrift in the complexities of his daughter’s highly connected life, \u003cem>Missing \u003c/em>makes June a Gen-Z’er who knows how to get around adults who reuse their passwords, don’t secure their devices, and thus leave themselves open to all manner of snooping. This is her environment; she is at home here on her screens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/seBixtcx19E'\n title='//www.youtube.com/embed/seBixtcx19E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a good thing June feels at ease with her tech, because 10 years after \u003cem>Unfriended\u003c/em>, her online life has grown far more complicated than that haunted video call. She has a Ring doorbell, she has voice-activated everything, she can chat with people around the world who are not in front of their computers, she inhabits a world full of live webcams, and home security systems have boomed. Her social media life isn’t about a Facebook page; it’s about bits and bobs scattered all over. She’s also not John Cho’s David from \u003cem>Searching\u003c/em>, who slowly explores one platform at a time, painstakingly dragging individual snippets of information out of the dark. June hops from window to window like a plate-spinner; following her “screenlife” investigation of her mother’s disappearance is dizzying. It is her \u003cem>expectation\u003c/em> that information she needs can be found somewhere, from her laptop. The editing has been accelerated and complicated by self-consciously inventive visual transitions, and regrettably, a lot of the simplicity has been lost.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is something bracingly confident, in retrospect, about \u003cem>Unfriended\u003c/em>, which plays out the boring acts of typing and scrolling in real time, the frustrations of trying over and over to click on things that cannot be clicked on. (Because it’s got a virus and that virus is … a ghost.) In classic horror style, what is unseen in that film is often more frightening than what is seen, and what is seen is limited by the format. While it’s a thriller rather than a horror film, \u003cem>Searching\u003c/em>, too, moves deliberately, making limited and effective use of hidden cameras, streaming, and other avenues that allow a found-footage style (more similar to \u003cem>Paranormal Activity \u003c/em>or \u003cem>The Blair Witch Project\u003c/em>) to take over from a pure screenlife style.\u003c/p>\n\u003cp>Much of \u003cem>Missing\u003c/em>, however, particularly late in its story, is more a found-footage film than a screenlife film. It doesn’t rely on messages, chats, forums, or that dance of typing and scrolling — it shows you a regular scene, but from the perspective of a camera that exists inside the story.\u003c/p>\n\u003cp>\u003cem>Missing \u003c/em>is not a bad film; it’s a good film. It’s smart, Reid is terrific, the thriller elements are gripping, the twists are surprising, and some of the moments in which June outsmarts people who are trying to cut her off from information she needs are highly satisfying. At the same time, it feels, in a way that’s a bit deflating, like a regression to the mean, where the repetition of this format across films (with perhaps greater and greater box-office expectations) makes them less and less formally interesting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>June’s active, inventive exploration of online information is also, perhaps, part of the evolution of a concept that travels from the horror realm to the thriller realm, with the shift in intensity that suggests. Maybe if a thriller is about what frightens you, a horror film is about what frightens you \u003cem>most\u003c/em> — that’s an oversimplification and certainly not the genre definition, but it captures something about the difference between the adrenaline of thrillers and the visceral wallop of horror.\u003c/p>\n\u003cp>What frightens many of us \u003cem>most\u003c/em> is not peril itself, but the growing sense of helplessness and hopelessness that horror does so well. What June has at her disposal is a multiplicity of tools, of new avenues to explore. \u003cem>Missing \u003c/em>is a study of the ways in which the internet is full of a hundred ways to solve a problem; it’s a story about bending these tools to your will. \u003cem>Unfriended \u003c/em>was about the anonymous message, the blank page, the blinking cursor, the grayed-out option, the spinning ball, the baffling intrusion — online life when it doesn’t work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it’s hard not to wonder what a thriller would look like that had more faith in this format, that didn’t feel so beholden to found-footage films. It’s another truth universally acknowledged that limitations often spur creativity; \u003cem>Missing \u003c/em>without the benefit of quite so many accessible cameras for June to peek through would be an adventure all its own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+her+mother+goes+%27Missing%2C%27+a+Gen-Z+teen+takes+up+a+tense+search+on+screens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Alec Baldwin Will Be Charged With Involuntary Manslaughter in ‘Rust’ Shooting Death",
"headTitle": "Alec Baldwin Will Be Charged With Involuntary Manslaughter in ‘Rust’ Shooting Death | KQED",
"content": "\u003cp>Actor Alec Baldwin will face a criminal charge of involuntary manslaughter in the shooting death of cinematographer \u003ca href=\"https://www.npr.org/2021/10/22/1048377659/halyna-hutchins-cinematographer-killed-on-a-film-set-is-honored-by-colleagues\">Halyna Hutchins\u003c/a> on the set of the film \u003cem>Rust\u003c/em>, prosecutors in Santa Fe, N.M., said on Thursday.\u003c/p>\n\u003cp>The film’s armorer, Hannah Gutierrez-Reed, is facing the same charge, First Judicial District Attorney Mary Carmack-Altwies said \u003ca href=\"https://www.facebook.com/1stJDA/posts/pfbid02b3LtsS7cHsQwdYK2ghBZEvAwAJA7wCDKwzo9PrM9CqguUd8rKvTD13qGD26UxAul\">in a written statement\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13905217']In addition to those charges, assistant director David Halls “has signed a plea deal for the charge of negligent use of a deadly weapon,” according to the announcement.\u003c/p>\n\u003cp>“If any one of these three people — Alec Baldwin, Hannah Gutierrez-Reed or David Halls — had done their job, Halyna Hutchins would be alive today,” said Andrea Reeb, the special prosecutor appointed by Carmack-Altwies. “It’s that simple.”\u003c/p>\n\u003cp>A review of evidence in the case “clearly shows a pattern of criminal disregard for safety” on the film’s set, Reeb added.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baldwin’s attorney, Luke Nikas, called the decision to file charges “a terrible miscarriage of justice” and a distortion of a tragedy.\u003c/p>\n\u003cp>The actor “relied on the professionals with whom he worked, who assured him the gun did not have live rounds,” Nikas said in a statement to NPR. “We will fight these charges, and we will win.”\u003c/p>\n\u003cp>In October 2021, Baldwin was holding a Colt .45-caliber pistol that fired a live round, killing Hutchins. At the time, they were rehearsing a scene for the Western film.\u003c/p>\n\u003cp>Baldwin has maintained that Hutchins died in a tragic accident, saying he didn’t intentionally fire the weapon and had no idea that it held live ammunition when the film crew gathered to rehearse a scene for the film.\u003c/p>\n\u003ch3>What are the charges against Baldwin?\u003c/h3>\n\u003cp>Baldwin and Gutierrez-Reed are each being charged with two counts of involuntary manslaughter, meaning they’re “charged in the alternative.” Prosecutors say they want a jury to decide not only if the pair are guilty, but which type of involuntary manslaughter should apply to the events around Hutchins’ death.\u003c/p>\n\u003cp>At the base level, both of the charges are fourth-degree felonies, punishable by up to 18 months in jail and a $5,000 fine. But if Baldwin and/or Gutierrez-Reed are found guilty of the most serious charges that carry a firearm enhancement, they stand to face five years in prison.\u003c/p>\n\u003cp>Under the basic involuntary manslaughter charge, prosecutors would need to show that underlying negligence played a role in the shooting death. That charge would also “likely” merge with a misdemeanor charge of negligent use of a firearm, prosecutors said.\u003c/p>\n\u003cp>[aside postid='arts_13906796']The other charge is involuntary manslaughter in the commission of a lawful act — which would require prosecutors to establish that factors beyond simple negligence contributed to Hutchins’ death. This version of the charge includes a firearm enhancement, meaning that if the actor or armorer are found guilty, they would face a mandatory prison term of five years.\u003c/p>\n\u003cp>When contacted by NPR, Gutierrez-Reed’s attorney, Jason Bowles, said his client “is, and has always been, very emotional and sad about this tragic accident. But she did not commit involuntary manslaughter.”\u003c/p>\n\u003cp>Calling the official investigation “flawed,” Bowles stated, “We intend to bring the full truth to light and believe Hannah will be exonerated of wrongdoing by a jury.”\u003c/p>\n\u003cp>The charges will be formally filed by the end of this month, the prosecutors said, setting the case in motion in the court system.\u003c/p>\n\u003ch3>The decision comes after months of debate and accusation\u003c/h3>\n\u003cp>The shooting has sparked a series of conflicting versions and opinions, from Baldwin saying he didn’t pull the trigger on the gun, to the \u003ca href=\"https://www.npr.org/2022/08/15/1117577604/alec-baldwin-fbi-report-movie-shooting\">FBI refuting that statement\u003c/a> — and Baldwin’s attorney saying the FBI’s findings were “misconstrued.”\u003c/p>\n\u003cp>As for how the bullet came to be in the gun, Gutierrez-Reed has previously \u003ca href=\"https://www.npr.org/2022/01/13/1072763841/the-rust-armorer-is-suing-the-films-ammo-supplier-over-the-deadly-on-set-shootin\">accused the film’s supplier\u003c/a> of providing live rounds rather than blanks or dummy rounds.\u003c/p>\n\u003cp>[aside postid='arts_13906102']Hutchins’ family filed a wrongful death suit against Baldwin and others involved in making the film \u003ca href=\"https://www.npr.org/2022/02/15/1080862149/alec-baldwin-halyna-hutchins-rust-lawsuit\">last February\u003c/a>, alleging that “reckless behavior and cost-cutting” contributed to the death of Hutchins at age 42.\u003c/p>\n\u003cp>But that lawsuit \u003ca href=\"https://www.npr.org/2022/10/05/1126940511/halyna-hutchins-rust-alec-baldwin-settlement\">was halted last October\u003c/a>, after the actor and Hutchins’ family agreed to a settlement. The deal included a call for production of \u003cem>Rust\u003c/em> to \u003ca href=\"https://www.pbs.org/newshour/arts/rust-filming-to-resume-after-alec-baldwin-shooting-lawsuit-settled\">resume this month\u003c/a>, with Hutchins’ husband, Matthew, added as an executive producer on the film.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have no interest in engaging in recriminations or attribution of blame (to the producers or Mr. Baldwin),” Matthew Hutchins said in a statement about the settlement. “All of us believe Halyna’s death was a terrible accident. I am grateful that the producers and the entertainment community have come together to pay tribute to Halyna’s final work.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Alec+Baldwin+will+be+charged+with+involuntary+manslaughter+in+%27Rust%27+shooting+death&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Alec Baldwin will face a criminal charge of involuntary manslaughter in the shooting death of cinematographer \u003ca href=\"https://www.npr.org/2021/10/22/1048377659/halyna-hutchins-cinematographer-killed-on-a-film-set-is-honored-by-colleagues\">Halyna Hutchins\u003c/a> on the set of the film \u003cem>Rust\u003c/em>, prosecutors in Santa Fe, N.M., said on Thursday.\u003c/p>\n\u003cp>The film’s armorer, Hannah Gutierrez-Reed, is facing the same charge, First Judicial District Attorney Mary Carmack-Altwies said \u003ca href=\"https://www.facebook.com/1stJDA/posts/pfbid02b3LtsS7cHsQwdYK2ghBZEvAwAJA7wCDKwzo9PrM9CqguUd8rKvTD13qGD26UxAul\">in a written statement\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In addition to those charges, assistant director David Halls “has signed a plea deal for the charge of negligent use of a deadly weapon,” according to the announcement.\u003c/p>\n\u003cp>“If any one of these three people — Alec Baldwin, Hannah Gutierrez-Reed or David Halls — had done their job, Halyna Hutchins would be alive today,” said Andrea Reeb, the special prosecutor appointed by Carmack-Altwies. “It’s that simple.”\u003c/p>\n\u003cp>A review of evidence in the case “clearly shows a pattern of criminal disregard for safety” on the film’s set, Reeb added.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baldwin’s attorney, Luke Nikas, called the decision to file charges “a terrible miscarriage of justice” and a distortion of a tragedy.\u003c/p>\n\u003cp>The actor “relied on the professionals with whom he worked, who assured him the gun did not have live rounds,” Nikas said in a statement to NPR. “We will fight these charges, and we will win.”\u003c/p>\n\u003cp>In October 2021, Baldwin was holding a Colt .45-caliber pistol that fired a live round, killing Hutchins. At the time, they were rehearsing a scene for the Western film.\u003c/p>\n\u003cp>Baldwin has maintained that Hutchins died in a tragic accident, saying he didn’t intentionally fire the weapon and had no idea that it held live ammunition when the film crew gathered to rehearse a scene for the film.\u003c/p>\n\u003ch3>What are the charges against Baldwin?\u003c/h3>\n\u003cp>Baldwin and Gutierrez-Reed are each being charged with two counts of involuntary manslaughter, meaning they’re “charged in the alternative.” Prosecutors say they want a jury to decide not only if the pair are guilty, but which type of involuntary manslaughter should apply to the events around Hutchins’ death.\u003c/p>\n\u003cp>At the base level, both of the charges are fourth-degree felonies, punishable by up to 18 months in jail and a $5,000 fine. But if Baldwin and/or Gutierrez-Reed are found guilty of the most serious charges that carry a firearm enhancement, they stand to face five years in prison.\u003c/p>\n\u003cp>Under the basic involuntary manslaughter charge, prosecutors would need to show that underlying negligence played a role in the shooting death. That charge would also “likely” merge with a misdemeanor charge of negligent use of a firearm, prosecutors said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The other charge is involuntary manslaughter in the commission of a lawful act — which would require prosecutors to establish that factors beyond simple negligence contributed to Hutchins’ death. This version of the charge includes a firearm enhancement, meaning that if the actor or armorer are found guilty, they would face a mandatory prison term of five years.\u003c/p>\n\u003cp>When contacted by NPR, Gutierrez-Reed’s attorney, Jason Bowles, said his client “is, and has always been, very emotional and sad about this tragic accident. But she did not commit involuntary manslaughter.”\u003c/p>\n\u003cp>Calling the official investigation “flawed,” Bowles stated, “We intend to bring the full truth to light and believe Hannah will be exonerated of wrongdoing by a jury.”\u003c/p>\n\u003cp>The charges will be formally filed by the end of this month, the prosecutors said, setting the case in motion in the court system.\u003c/p>\n\u003ch3>The decision comes after months of debate and accusation\u003c/h3>\n\u003cp>The shooting has sparked a series of conflicting versions and opinions, from Baldwin saying he didn’t pull the trigger on the gun, to the \u003ca href=\"https://www.npr.org/2022/08/15/1117577604/alec-baldwin-fbi-report-movie-shooting\">FBI refuting that statement\u003c/a> — and Baldwin’s attorney saying the FBI’s findings were “misconstrued.”\u003c/p>\n\u003cp>As for how the bullet came to be in the gun, Gutierrez-Reed has previously \u003ca href=\"https://www.npr.org/2022/01/13/1072763841/the-rust-armorer-is-suing-the-films-ammo-supplier-over-the-deadly-on-set-shootin\">accused the film’s supplier\u003c/a> of providing live rounds rather than blanks or dummy rounds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hutchins’ family filed a wrongful death suit against Baldwin and others involved in making the film \u003ca href=\"https://www.npr.org/2022/02/15/1080862149/alec-baldwin-halyna-hutchins-rust-lawsuit\">last February\u003c/a>, alleging that “reckless behavior and cost-cutting” contributed to the death of Hutchins at age 42.\u003c/p>\n\u003cp>But that lawsuit \u003ca href=\"https://www.npr.org/2022/10/05/1126940511/halyna-hutchins-rust-alec-baldwin-settlement\">was halted last October\u003c/a>, after the actor and Hutchins’ family agreed to a settlement. The deal included a call for production of \u003cem>Rust\u003c/em> to \u003ca href=\"https://www.pbs.org/newshour/arts/rust-filming-to-resume-after-alec-baldwin-shooting-lawsuit-settled\">resume this month\u003c/a>, with Hutchins’ husband, Matthew, added as an executive producer on the film.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have no interest in engaging in recriminations or attribution of blame (to the producers or Mr. Baldwin),” Matthew Hutchins said in a statement about the settlement. “All of us believe Halyna’s death was a terrible accident. I am grateful that the producers and the entertainment community have come together to pay tribute to Halyna’s final work.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Alec+Baldwin+will+be+charged+with+involuntary+manslaughter+in+%27Rust%27+shooting+death&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘Saint Omer’ is a Complex Courtroom Drama About Much More Than the Murder at Hand | KQED",
"content": "\u003cp>When I was a kid, I used to watch \u003cem>Perry Mason\u003c/em> every day after school. I was drawn to the show’s black-and-white clarity. Perry always found out who was lying, who was telling the truth, who was guilty — and why.\u003c/p>\n\u003cp>As I grew older, I naturally discovered that things are grayer and more elusive in real world courtrooms. It’s not simply that you can’t always be sure who’s telling the truth, but that sometimes nobody knows the truth well enough to tell it.\u003c/p>\n\u003cp>[aside postid='arts_13923388']This ambiguity takes mesmerizing form in \u003cem>Saint Omer\u003c/em>, the strikingly confident feature debut of Alice Diop, a 43-year-old French filmmaker born of Senegalese immigrants. Based on an actual criminal case in France in which a Senegalese woman killed her baby daughter, Diop’s fictionalized version is at once rigorous, powerful and crackling with ideas about isolation, colonialism, the tricky bonds between mothers and daughters, and the equally tricky human habit of identifying with other people for reasons we may not grasp.\u003c/p>\n\u003cp>\u003cem>Saint Omer\u003c/em> begins with Diop’s surrogate, Rama (Kayije Kagame), a successful intellectual writer who has a white musician boyfriend and a Senegalese mother she can’t quite stand. She heads off from Paris to the town of Saint Omer to watch the trial of Laurence Coly (Guslagie Malanda).\u003c/p>\n\u003cp>Laurence is a Senegalese woman who once dreamed of being a genius philosopher — she casually namechecks Descartes — but now confesses to causing the death of her baby daughter Elise. Rama plans to write a book about her titled, \u003cem>Medea Shipwrecked\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iWw-EyrG5Sw\u003c/p>\n\u003cp>Like Rama, we get sucked into a trial that unfolds in the French manner, meaning that the judge — empathetically played by Valérie Dréville — questions most of the witnesses in a probing, expansive way reminiscent of a Ph.D. oral exam.\u003c/p>\n\u003cp>We see the self-serving slipperiness of Laurence’s partner, a bearded white man 30-odd years her senior who wouldn’t let her meet his family or friends. We hear the righteous words of the mother she always felt distant from, and we cringe at the testimony of her one-time professor who, with exquisite cultural condescension, wonders why Laurence had wanted to study Wittgenstein rather than a thinker befitting her African roots.\u003c/p>\n\u003cp>Of course, the trial’s star attraction is Laurence who, in Malanda’s rivetingly charismatic performance, is at once controlled and unreadable: She makes us feel that there’s a whole universe in Laurence’s head that we can never reach. Although her testimony is delivered matter-of-factly — even when she blames the murder on sorcery — she often contradicts her earlier statements. Asked why she left Elise to die on the beach, she replies that she doesn’t know, adding, “I hope this trial will give me the answer.”\u003c/p>\n\u003cfigure id=\"attachment_13923820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg\" alt=\"A young Black woman with braids, wearing a loose olive green shirt, wears a concerned expression, sitting in the audience of a court hearing.\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kayije Kagame plays a writer covering the murder trial. \u003ccite>(via Toronto Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Laurence remains a mystery, even to herself, we gradually realize why Rama is so enthralled by her story. I won’t tell you exactly why, but I will say that \u003cem>Saint Omer\u003c/em> is as much about Rama as it is about Laurence. The film explores Rama’s own cultural alienation, trouble with her mother, and intellectual analogies to Elise’s murder that may or may not be accurate. She wonders if she may contain within herself the seeds of whatever has been motivating Laurence.\u003c/p>\n\u003cp>[aside postid='arts_13923573']Now, it must be said that Rama’s story is less emotionally compelling than the murder case, in part because Kagame, though haunted looking, is a less expressive actor than Malanda. That said, her story is important conceptually. Rama’s identification with Laurence shows how the social and psychological issues raised in the trial go well beyond the courtroom. \u003cem>Saint Omer \u003c/em>is about far more than just one murderous mother.\u003c/p>\n\u003cp>What makes the movie unforgettable are the scenes in the courtroom, every moment of them gripping. Diop started out making documentaries, and she looks at the trial with a born observer’s unblinkingly rapt attention. Using superbly-acted long takes, she scrutinizes the characters for hints as to what made Laurence do it; she makes us feel the volcanic emotional pressure behind Laurence’s largely unflappable demeanor; and she lets us see the complex, multi-layered network of social and psychological forces that led her to the beach. We keep asking ourselves whether Laurence is a criminal — or a victim. There are no easy answers, no simple explanation for her actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’re a long, long way from Perry Mason.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Saint+Omer%27+is+a+complex+courtroom+drama+about+much+more+than+the+murder+at+hand&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This ambiguity takes mesmerizing form in \u003cem>Saint Omer\u003c/em>, the strikingly confident feature debut of Alice Diop, a 43-year-old French filmmaker born of Senegalese immigrants. Based on an actual criminal case in France in which a Senegalese woman killed her baby daughter, Diop’s fictionalized version is at once rigorous, powerful and crackling with ideas about isolation, colonialism, the tricky bonds between mothers and daughters, and the equally tricky human habit of identifying with other people for reasons we may not grasp.\u003c/p>\n\u003cp>\u003cem>Saint Omer\u003c/em> begins with Diop’s surrogate, Rama (Kayije Kagame), a successful intellectual writer who has a white musician boyfriend and a Senegalese mother she can’t quite stand. She heads off from Paris to the town of Saint Omer to watch the trial of Laurence Coly (Guslagie Malanda).\u003c/p>\n\u003cp>Laurence is a Senegalese woman who once dreamed of being a genius philosopher — she casually namechecks Descartes — but now confesses to causing the death of her baby daughter Elise. Rama plans to write a book about her titled, \u003cem>Medea Shipwrecked\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iWw-EyrG5Sw'\n title='//www.youtube.com/embed/iWw-EyrG5Sw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like Rama, we get sucked into a trial that unfolds in the French manner, meaning that the judge — empathetically played by Valérie Dréville — questions most of the witnesses in a probing, expansive way reminiscent of a Ph.D. oral exam.\u003c/p>\n\u003cp>We see the self-serving slipperiness of Laurence’s partner, a bearded white man 30-odd years her senior who wouldn’t let her meet his family or friends. We hear the righteous words of the mother she always felt distant from, and we cringe at the testimony of her one-time professor who, with exquisite cultural condescension, wonders why Laurence had wanted to study Wittgenstein rather than a thinker befitting her African roots.\u003c/p>\n\u003cp>Of course, the trial’s star attraction is Laurence who, in Malanda’s rivetingly charismatic performance, is at once controlled and unreadable: She makes us feel that there’s a whole universe in Laurence’s head that we can never reach. Although her testimony is delivered matter-of-factly — even when she blames the murder on sorcery — she often contradicts her earlier statements. Asked why she left Elise to die on the beach, she replies that she doesn’t know, adding, “I hope this trial will give me the answer.”\u003c/p>\n\u003cfigure id=\"attachment_13923820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg\" alt=\"A young Black woman with braids, wearing a loose olive green shirt, wears a concerned expression, sitting in the audience of a court hearing.\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kayije Kagame plays a writer covering the murder trial. \u003ccite>(via Toronto Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Laurence remains a mystery, even to herself, we gradually realize why Rama is so enthralled by her story. I won’t tell you exactly why, but I will say that \u003cem>Saint Omer\u003c/em> is as much about Rama as it is about Laurence. The film explores Rama’s own cultural alienation, trouble with her mother, and intellectual analogies to Elise’s murder that may or may not be accurate. She wonders if she may contain within herself the seeds of whatever has been motivating Laurence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, it must be said that Rama’s story is less emotionally compelling than the murder case, in part because Kagame, though haunted looking, is a less expressive actor than Malanda. That said, her story is important conceptually. Rama’s identification with Laurence shows how the social and psychological issues raised in the trial go well beyond the courtroom. \u003cem>Saint Omer \u003c/em>is about far more than just one murderous mother.\u003c/p>\n\u003cp>What makes the movie unforgettable are the scenes in the courtroom, every moment of them gripping. Diop started out making documentaries, and she looks at the trial with a born observer’s unblinkingly rapt attention. Using superbly-acted long takes, she scrutinizes the characters for hints as to what made Laurence do it; she makes us feel the volcanic emotional pressure behind Laurence’s largely unflappable demeanor; and she lets us see the complex, multi-layered network of social and psychological forces that led her to the beach. We keep asking ourselves whether Laurence is a criminal — or a victim. There are no easy answers, no simple explanation for her actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’re a long, long way from Perry Mason.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Saint+Omer%27+is+a+complex+courtroom+drama+about+much+more+than+the+murder+at+hand&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Best Of Reel Talk: Filmmakers Jon & Alba",
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"content": "\u003cp>\u003cem>This episode was originally part of the \u003c/em>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Reel Talk: Filmmaking in the Bay Area… Rightnowish \u003c/a>\u003c/em>\u003cem>series from 2021. We’re revisiting it as a part of our 2023 kickoff series highlighting some of the best stories from our archives.\u003c/em>\u003c/p>\n\u003cp>San Francisco State graduates \u003ca href=\"https://www.instagram.com/albogold/\" target=\"_blank\" rel=\"noopener noreferrer\">Alba Roland Mejia\u003c/a> and \u003ca href=\"https://www.instagram.com/jonharrisonsb/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Warfield Harrison\u003c/a> are in the early stages of their careers as filmmakers, but their work is already being supported by the likes of \u003ca href=\"https://www.instagram.com/j0in_the_m0vement_c0aliti0n/\" target=\"_blank\" rel=\"noopener noreferrer\">Join The Movement Coalition\u003c/a>, \u003ca href=\"https://www.instagram.com/oaklandish/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandish,\u003c/a> Marshawn Lynch’s \u003ca href=\"https://www.instagram.com/beastmodestore/\" target=\"_blank\" rel=\"noopener noreferrer\">Beastmode\u003c/a>, and \u003ca href=\"https://www.instagram.com/p/CLXSVvPHyNL/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Kodak\u003c/a>.\u003c/p>\n\u003cp>Alba and Jon have released a handful of short films which are artistic, a bit experimental, and occasionally include a dash of science fiction.\u003c/p>\n\u003cp>https://vimeo.com/449524937\u003c/p>\n\u003cp>Their first collaboration, \u003ca href=\"https://www.myownmeccafilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> My Own Mecca\u003c/em>\u003c/a>, looks at a day in the life of a young man at a crossroads, learning to navigate relationships, rent and the world around him. They’re also the force behind \u003ca href=\"https://vimeo.com/509851626\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blackness is Everything\u003c/em>\u003c/a>, an experimental film that features the faces and talents of some pretty well-known Bay Area-based Black artists. The short film, made possible with the support of \u003ca href=\"https://www.baycat.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAYCAT\u003c/a>, debuted in February of 2021.\u003c/p>\n\u003cp>https://vimeo.com/509851626\u003c/p>\n\u003cp>But behind the scenes is the real story: Alba and Jon have come together to create a working relationship that’s balanced and productive. Evidently, this workflow rubs off on the people around them.\u003c/p>\n\u003cp>In this episode, we discuss how the filmmakers work together to build suspense in their stories, pray to film gods that their scenes are captured correctly, and collaborate with the community to create cinema.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2980931986&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Alba Roland Mejia and Jon Warfield Harrison.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What was the first piece that you two collaborated on?\u003c/em>\u003c/p>\n\u003cp>Jon: We did My Own Mecca together…\u003c/p>\n\u003cp>Alba: Basically it’s a day in the life of a young Black man in the Bay Area… how he understands who he is in his reality. It’s about the microaggressions that we don’t really talk about too much. It’s about the issues that we have within our household or within our friendships. And being in situations in which we’re supposed to feel safe and we don’t.\u003c/p>\n\u003cp>\u003cem>Pen: How do you make those moments so big and intense? Like, I’m nervous and squeamish watching ’em. How did you do that?\u003c/em>\u003c/p>\n\u003cp>Alba: [The two characters] have this tendency to battle for dominance. And there’s these subtle digs that they do with each other in order to determine who is in control of the conversation, even though they’re both friends and they both genuinely love each other.\u003c/p>\n\u003cp>Jon: If you’re just talking to somebody or in a tense situation… It’s hard to maintain that eye contact because you feel that intensity. And I feel like through the film, we’re able to really capture those moments of the glare that they have towards each other. But through the editing, we’re able to let it sit there for a few seconds and you really absorb that intensity.\u003c/p>\n\u003cp>\u003cem>Pen: Jon, why did you feel pulled to shoot on film?\u003c/em>\u003c/p>\n\u003cp>Jon: Just the fact that celluloid is like a physical thing you can hold in your hand… when it’s in the camera, it’s physically capturing that light onto it. So it’s truly there in that moment with you and it’s never going to be the same. So it’s almost like a living organism with you, capturing this story and like ingraining it physically in this earth. Through the years, it’s been getting better and better for darker skin tones as well.\u003c/p>\n\u003cp>Alba: He said it was like a living organism… I hadn’t experienced it before. When the camera is on and rolling, you can hear it breathing as if it was like a heartbeat right next to your face.\u003c/p>\n\u003cp>\u003cem>Pen: How does it feel to have a tag team partner as a director and a cinematographer… do you feel like you’re wide receiver and quarterback? Are you coach and offensive coordinator?\u003c/em>\u003c/p>\n\u003cp>Alba: I wouldn’t even say it’s like a quarterback and a receiver, I would say it’s like a tag team wrestling match. We both got a common goal and we take turns and we know each other’s strengths.\u003c/p>\n\u003cp>Alba: For example, this most recent project that we’re working on, \u003cem>Blackness is Everything\u003c/em>, there was something that I kind of just threw at them, like, oh, I want to shoot slow motion on film in black and white. What I didn’t know was that he did the research to make sure that he knew before coming to set how many stops the lighting needs to be to be in slow motion and in black and white, because all these things matter, all these little details matter. Something I didn’t realize. I just know what I wanted it to feel like. And John knows how to make it happen.\u003c/p>\n\u003cp>\u003cem>Pen: Was there a moment that stands out to you like that just extremely fun, chaotic thing that happened on either of the sets that you worked on together?\u003c/em>\u003c/p>\n\u003cp>Alba: Our first day of shooting My Own Mecca, we had about 30 folks and we’re in West Oakland. It’s a big group of people. So naturally, the whole community, one by one, would come out to us… stop the whole production, ask what we’re doing, introduce themselves, tell us about their life. I love that. It did stop production quite a bit, but I loved how interested and open and receptive they were to us.\u003c/p>\n\u003cp>Jon: Some of those people who came up, they ended up staying in the background of the film. And I remember I was just sitting back there, hands on my hips, watching everything. It was just beautiful to see like a collaboration between like 25 different humans, and then all these people in the background we didn’t even really know, just coming together to make a movie in Oakland.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This episode was originally part of the \u003c/em>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Reel Talk: Filmmaking in the Bay Area… Rightnowish \u003c/a>\u003c/em>\u003cem>series from 2021. We’re revisiting it as a part of our 2023 kickoff series highlighting some of the best stories from our archives.\u003c/em>\u003c/p>\n\u003cp>San Francisco State graduates \u003ca href=\"https://www.instagram.com/albogold/\" target=\"_blank\" rel=\"noopener noreferrer\">Alba Roland Mejia\u003c/a> and \u003ca href=\"https://www.instagram.com/jonharrisonsb/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Warfield Harrison\u003c/a> are in the early stages of their careers as filmmakers, but their work is already being supported by the likes of \u003ca href=\"https://www.instagram.com/j0in_the_m0vement_c0aliti0n/\" target=\"_blank\" rel=\"noopener noreferrer\">Join The Movement Coalition\u003c/a>, \u003ca href=\"https://www.instagram.com/oaklandish/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandish,\u003c/a> Marshawn Lynch’s \u003ca href=\"https://www.instagram.com/beastmodestore/\" target=\"_blank\" rel=\"noopener noreferrer\">Beastmode\u003c/a>, and \u003ca href=\"https://www.instagram.com/p/CLXSVvPHyNL/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Kodak\u003c/a>.\u003c/p>\n\u003cp>Alba and Jon have released a handful of short films which are artistic, a bit experimental, and occasionally include a dash of science fiction.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>But behind the scenes is the real story: Alba and Jon have come together to create a working relationship that’s balanced and productive. Evidently, this workflow rubs off on the people around them.\u003c/p>\n\u003cp>In this episode, we discuss how the filmmakers work together to build suspense in their stories, pray to film gods that their scenes are captured correctly, and collaborate with the community to create cinema.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2980931986&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Alba Roland Mejia and Jon Warfield Harrison.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What was the first piece that you two collaborated on?\u003c/em>\u003c/p>\n\u003cp>Jon: We did My Own Mecca together…\u003c/p>\n\u003cp>Alba: Basically it’s a day in the life of a young Black man in the Bay Area… how he understands who he is in his reality. It’s about the microaggressions that we don’t really talk about too much. It’s about the issues that we have within our household or within our friendships. And being in situations in which we’re supposed to feel safe and we don’t.\u003c/p>\n\u003cp>\u003cem>Pen: How do you make those moments so big and intense? Like, I’m nervous and squeamish watching ’em. How did you do that?\u003c/em>\u003c/p>\n\u003cp>Alba: [The two characters] have this tendency to battle for dominance. And there’s these subtle digs that they do with each other in order to determine who is in control of the conversation, even though they’re both friends and they both genuinely love each other.\u003c/p>\n\u003cp>Jon: If you’re just talking to somebody or in a tense situation… It’s hard to maintain that eye contact because you feel that intensity. And I feel like through the film, we’re able to really capture those moments of the glare that they have towards each other. But through the editing, we’re able to let it sit there for a few seconds and you really absorb that intensity.\u003c/p>\n\u003cp>\u003cem>Pen: Jon, why did you feel pulled to shoot on film?\u003c/em>\u003c/p>\n\u003cp>Jon: Just the fact that celluloid is like a physical thing you can hold in your hand… when it’s in the camera, it’s physically capturing that light onto it. So it’s truly there in that moment with you and it’s never going to be the same. So it’s almost like a living organism with you, capturing this story and like ingraining it physically in this earth. Through the years, it’s been getting better and better for darker skin tones as well.\u003c/p>\n\u003cp>Alba: He said it was like a living organism… I hadn’t experienced it before. When the camera is on and rolling, you can hear it breathing as if it was like a heartbeat right next to your face.\u003c/p>\n\u003cp>\u003cem>Pen: How does it feel to have a tag team partner as a director and a cinematographer… do you feel like you’re wide receiver and quarterback? Are you coach and offensive coordinator?\u003c/em>\u003c/p>\n\u003cp>Alba: I wouldn’t even say it’s like a quarterback and a receiver, I would say it’s like a tag team wrestling match. We both got a common goal and we take turns and we know each other’s strengths.\u003c/p>\n\u003cp>Alba: For example, this most recent project that we’re working on, \u003cem>Blackness is Everything\u003c/em>, there was something that I kind of just threw at them, like, oh, I want to shoot slow motion on film in black and white. What I didn’t know was that he did the research to make sure that he knew before coming to set how many stops the lighting needs to be to be in slow motion and in black and white, because all these things matter, all these little details matter. Something I didn’t realize. I just know what I wanted it to feel like. And John knows how to make it happen.\u003c/p>\n\u003cp>\u003cem>Pen: Was there a moment that stands out to you like that just extremely fun, chaotic thing that happened on either of the sets that you worked on together?\u003c/em>\u003c/p>\n\u003cp>Alba: Our first day of shooting My Own Mecca, we had about 30 folks and we’re in West Oakland. It’s a big group of people. So naturally, the whole community, one by one, would come out to us… stop the whole production, ask what we’re doing, introduce themselves, tell us about their life. I love that. It did stop production quite a bit, but I loved how interested and open and receptive they were to us.\u003c/p>\n\u003cp>Jon: Some of those people who came up, they ended up staying in the background of the film. And I remember I was just sitting back there, hands on my hips, watching everything. It was just beautiful to see like a collaboration between like 25 different humans, and then all these people in the background we didn’t even really know, just coming together to make a movie in Oakland.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Golden Globes Had a Lot to Prove — and Still Have a Long Way to Go",
"headTitle": "The Golden Globes Had a Lot to Prove — and Still Have a Long Way to Go | KQED",
"content": "\u003cp>Ke Huy Quan gave the 80th annual Golden Globe awards the redemption moment it so desperately needed.\u003c/p>\n\u003cp>Accepting the very first award of the night, as best supporting actor in a film for his standout work on the action/fantasy/comedy \u003cem>Everything Everywhere All at Once\u003c/em>, Quan recalled how he thought for years his acting career might never match his early work in movies like\u003cem> The Goonies\u003c/em> and \u003cem>Indiana Jones and the Temple of Doom\u003c/em>.\u003c/p>\n\u003cp>“For so many years, I was afraid I had nothing more to offer, that no matter what I did, I would never surpass what I achieved as a kid,” Quan said tearfully, moments after thanking director Steven Spielberg for casting him in\u003cem> Indiana Jones\u003c/em>. “Thankfully, more than 30 years later, two guys thought of me. They remembered that kid. And they gave me an opportunity to try again.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WIFvInRA2xQ\u003c/p>\n\u003cp>Ever since the Globes announced plans to return to NBC after a prolonged scandal over a lack of diversity among members and allegations of corruption, cynics wondered: Why should anyone care about this awards show again?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Quan’s tearful acceptance speech — a moving moment from an actor of color who is making a triumphant return to the craft when his career seemed to be over — provided a perfect answer.\u003c/p>\n\u003cp>If only these Globes could have come up with a few more moments like that.\u003c/p>\n\u003cp>[aside postid='arts_13923511']Instead, Tuesday’s Globes were an odd hodgepodge of expected awards (Cate Blanchette as best actress in a film drama for\u003cem> Tar\u003c/em>; Steven Spielberg as best director of a film drama for \u003cem>The Fablemans\u003c/em>), awards that didn’t make much sense (the \u003cem>Game of Thrones\u003c/em> spinoff\u003cem> House of the Dragon\u003c/em> as best TV drama over \u003cem>Better Call Saul\u003c/em> and \u003cem>Severance\u003c/em>?), and awards that were cool, but still kind of head-scratchers (\u003cem>Abbott Elementary’\u003c/em>s Tyler James Williams as best supporting actor on a TV show over \u003cem>Severance’\u003c/em>s John Turturro or \u003cem>Barry’\u003c/em>s Henry Winkler?)\u003c/p>\n\u003cp>In the end, the Globes had to make three arguments Tuesday: that it has survived its past scandals to become a better organization; that it still matters as an important benchmark in an awards season topped by The Oscars. And that it’s still Hollywood’s coolest party — the tipsy, uninhibited yin to the stuffy, traditional yang of The Oscars.\u003c/p>\n\u003cp>This year’s program showed they’ve still got a lot of work to do on every front. Here are a few reasons why:\u003c/p>\n\u003ch3>When you pick a host for a show that bills itself as Hollywood’s “party of the year,” maybe hire someone who actually wants to party?\u003c/h3>\n\u003cp>I get why Jerrod Carmichael started the Globes by telling everyone to be quiet while he walked them through a sardonic story on how he decided to take the host’s job. He even dropped a few great lines like: “One minute, you’re making mint tea at home, the next, you’re invited to be the Black face of an embattled white organization.”\u003c/p>\n\u003cp>But ultimately, that was a bummer of a way to start an awards show whose original claim to fame was that it was a wild, fun party. And Carmichael never really found his groove after that awkward, biting, sometimes funny-sometimes-not monologue — telling the audience to be quiet so much, he sounded more like a hall monitor than somebody trying to encourage everyone to have a good time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P9OwwVAaWFU&t=11s\u003c/p>\n\u003cp>Worse, some of Carmichael’s attempts at edgy humor weren’t quite funny enough to get past the edge to be entertaining. Like his joke about taking the three Golden Globes Tom Cruise returned — he gave them back in protest during the Globes’ scandals — and trading them for the wife of the Church of Scientology’s leader (critics of the church, of which Cruise is a longtime member, \u003ca href=\"https://deadline.com/2023/01/jerrod-carmichael-shelly-miscavige-scientology-tom-cruise-golden-globes-1235217193/\">have alleged she has been missing for years\u003c/a>.) Though I did love the moment when Carmichael told Spielberg he watched \u003cem>The Fablemans\u003c/em> with Kanye West and the movie was so good it changed Ye’s mind about his anti-Semitism.\u003c/p>\n\u003cp>In an odd way Carmichael’s uneven performance summed up the confused spirit of the show — which couldn’t quite decide if it was going to party on in hopes people forgot its past scandals or offer up a show so smart and incisive all would see they had transcended them.\u003c/p>\n\u003ch3>Diversity among some winners brought powerful moments, but …\u003c/h3>\n\u003cp>The Globes tried mightily to showcase diversity. The first three winners of the night were non-white performers: Quan, Williams and Angela Bassett as supporting actress for \u003cem>Black Panther: Wakanda Forever.\u003c/em>\u003c/p>\n\u003cp>Quan’s \u003cem>Everything Everywhere\u003c/em> co-star Michelle Yeoh finally got her flowers for a 40-year career navigating Hollywood’s often-terrible treatment of Asian performers and women of a certain age. “When I first came to Hollywood, it was a dream come true … until I (got) here,” she quipped, jokingly threatening to beat up producers if they tried to play her off with music before her speech was done. “Someone said to me: ‘You speak English?” … I said, ‘Yeah, the flight here was about 13 hours long, so I learned.’”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dHpDqn0nlK8\u003c/p>\n\u003cp>Producer/director Ryan Murphy, accepting the Carol Burnett award for TV achievement, used his acceptance speech to highlight LGBTQ performers he had worked with who had been pressured to hide their identities, like \u003cem>Pose\u003c/em> stars Michaela Jaé Rodriguez, Jeremy Pope and Billy Porter. “My mission was to take the invisible, the unloved, and make them the heroes I long to see but never did in pop culture,” he added.\u003c/p>\n\u003cp>Still, even with all these wonderful moments, there were too many great performances and projects by people of color left out — from movies like\u003cem> Till \u003c/em>and \u003cem>Nope\u003c/em> to TV shows like \u003cem>Reservation Dogs, Atlanta\u003c/em> and \u003cem>Pachinko\u003c/em>. Which left a feeling that the Globes have only just begun to make up for their past missed opportunities.\u003c/p>\n\u003ch3>Playing winners off with music during emotional acceptance speeches kills one of the biggest elements of the show.\u003c/h3>\n\u003cp>This is a mistake too many awards show producers make, including those at the Globes. Early in the night, Carmichael and a few presenters seemed to take their time, eating up precious minutes and throwing the show off schedule. This forces producers to curb the amount of time winners have for their speeches so they can end the show on time for the broadcast network — even during showcase moments like Yeoh’s long-awaited win, Spielberg’s acceptance of the best film drama award for \u003cem>The Fablemans \u003c/em>or Quinta Brunson’s win as best TV comedy for the show she created, \u003cem>Abbott Elementary\u003c/em>.\u003c/p>\n\u003cp>They even played off filmmakers trying to talk about the struggle for democracy in Argentina (\u003cem>Argentina, 85\u003c/em>).\u003c/p>\n\u003cp>Worse, the show had a pianist onscreen who was getting blamed for playing people off, but the music was pre-recorded and coming from the producers, as the pianist herself explained on Twitter.\u003c/p>\n\u003cp>https://twitter.com/ChloeFlower/status/1613006017595609089\u003c/p>\n\u003cp>Bottom line: emotional, eloquent acceptance speeches are what viewers love and what critics like me talk about the next day. Setting up a situation where you’re rushing big winners through their moment helps no one — especially the onscreen pianist unfairly blamed for the music.\u003c/p>\n\u003ch3>Making fun of weather emergencies is rarely wise\u003c/h3>\n\u003cp>Because some celebrities chose not to attend the Globes on principle — like nominee Brendan Fraser (\u003cem>The Whale\u003c/em>) — the show went out of its way to tell the audience when a celebrity wasn’t present because they were working or otherwise indisposed.\u003c/p>\n\u003cp>These announcements could lead to some suspicion and snark, including when Regina Hall made fun of the idea that inclement weather trapped \u003cem>Yellowstone\u003c/em> star Kevin Costner in Santa Barbara and kept him from accepting his award as best actor in a TV drama.\u003c/p>\n\u003cp>But Costner had released his own video on social media explaining that heavy rain had washed out the roads in his area and he truly had intended to attend the ceremony — which highlights the dangers of snarking before you know all the facts (and yes, I snarked too, until I saw Costner’s video).\u003c/p>\n\u003cp>https://twitter.com/modernwest/status/1612971766116225026\u003c/p>\n\u003ch3>Even when his acceptance speech is just a few minutes long, Eddie Murphy knows how to bring down the house.\u003c/h3>\n\u003cp>To be honest, I was hoping Murphy would speak longer during his acceptance speech for the Cecil B. DeMille award — a lifetime achievement honor for one of the most influential comics in film or TV. But he offered a short, serious speech where he thanked family, friends and colleagues, before ending with three things he said were the key to success and happiness in Hollywood.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=agwQGhsS1qw\u003c/p>\n\u003cp>“Pay your taxes. Mind your business. And keep Will Smith’s wife’s name out your mother f—ing mouth!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Now that’s the kind of in-your-face, irreverent funny bit that the Golden Globes could have used a lot more of.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Golden+Globes+had+a+lot+to+prove+%E2%80%94+and+still+have+a+long+way+to+go&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ke Huy Quan gave the 80th annual Golden Globe awards the redemption moment it so desperately needed.\u003c/p>\n\u003cp>Accepting the very first award of the night, as best supporting actor in a film for his standout work on the action/fantasy/comedy \u003cem>Everything Everywhere All at Once\u003c/em>, Quan recalled how he thought for years his acting career might never match his early work in movies like\u003cem> The Goonies\u003c/em> and \u003cem>Indiana Jones and the Temple of Doom\u003c/em>.\u003c/p>\n\u003cp>“For so many years, I was afraid I had nothing more to offer, that no matter what I did, I would never surpass what I achieved as a kid,” Quan said tearfully, moments after thanking director Steven Spielberg for casting him in\u003cem> Indiana Jones\u003c/em>. “Thankfully, more than 30 years later, two guys thought of me. They remembered that kid. And they gave me an opportunity to try again.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WIFvInRA2xQ'\n title='//www.youtube.com/embed/WIFvInRA2xQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ever since the Globes announced plans to return to NBC after a prolonged scandal over a lack of diversity among members and allegations of corruption, cynics wondered: Why should anyone care about this awards show again?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Instead, Tuesday’s Globes were an odd hodgepodge of expected awards (Cate Blanchette as best actress in a film drama for\u003cem> Tar\u003c/em>; Steven Spielberg as best director of a film drama for \u003cem>The Fablemans\u003c/em>), awards that didn’t make much sense (the \u003cem>Game of Thrones\u003c/em> spinoff\u003cem> House of the Dragon\u003c/em> as best TV drama over \u003cem>Better Call Saul\u003c/em> and \u003cem>Severance\u003c/em>?), and awards that were cool, but still kind of head-scratchers (\u003cem>Abbott Elementary’\u003c/em>s Tyler James Williams as best supporting actor on a TV show over \u003cem>Severance’\u003c/em>s John Turturro or \u003cem>Barry’\u003c/em>s Henry Winkler?)\u003c/p>\n\u003cp>In the end, the Globes had to make three arguments Tuesday: that it has survived its past scandals to become a better organization; that it still matters as an important benchmark in an awards season topped by The Oscars. And that it’s still Hollywood’s coolest party — the tipsy, uninhibited yin to the stuffy, traditional yang of The Oscars.\u003c/p>\n\u003cp>This year’s program showed they’ve still got a lot of work to do on every front. Here are a few reasons why:\u003c/p>\n\u003ch3>When you pick a host for a show that bills itself as Hollywood’s “party of the year,” maybe hire someone who actually wants to party?\u003c/h3>\n\u003cp>I get why Jerrod Carmichael started the Globes by telling everyone to be quiet while he walked them through a sardonic story on how he decided to take the host’s job. He even dropped a few great lines like: “One minute, you’re making mint tea at home, the next, you’re invited to be the Black face of an embattled white organization.”\u003c/p>\n\u003cp>But ultimately, that was a bummer of a way to start an awards show whose original claim to fame was that it was a wild, fun party. And Carmichael never really found his groove after that awkward, biting, sometimes funny-sometimes-not monologue — telling the audience to be quiet so much, he sounded more like a hall monitor than somebody trying to encourage everyone to have a good time.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P9OwwVAaWFU'\n title='//www.youtube.com/embed/P9OwwVAaWFU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Worse, some of Carmichael’s attempts at edgy humor weren’t quite funny enough to get past the edge to be entertaining. Like his joke about taking the three Golden Globes Tom Cruise returned — he gave them back in protest during the Globes’ scandals — and trading them for the wife of the Church of Scientology’s leader (critics of the church, of which Cruise is a longtime member, \u003ca href=\"https://deadline.com/2023/01/jerrod-carmichael-shelly-miscavige-scientology-tom-cruise-golden-globes-1235217193/\">have alleged she has been missing for years\u003c/a>.) Though I did love the moment when Carmichael told Spielberg he watched \u003cem>The Fablemans\u003c/em> with Kanye West and the movie was so good it changed Ye’s mind about his anti-Semitism.\u003c/p>\n\u003cp>In an odd way Carmichael’s uneven performance summed up the confused spirit of the show — which couldn’t quite decide if it was going to party on in hopes people forgot its past scandals or offer up a show so smart and incisive all would see they had transcended them.\u003c/p>\n\u003ch3>Diversity among some winners brought powerful moments, but …\u003c/h3>\n\u003cp>The Globes tried mightily to showcase diversity. The first three winners of the night were non-white performers: Quan, Williams and Angela Bassett as supporting actress for \u003cem>Black Panther: Wakanda Forever.\u003c/em>\u003c/p>\n\u003cp>Quan’s \u003cem>Everything Everywhere\u003c/em> co-star Michelle Yeoh finally got her flowers for a 40-year career navigating Hollywood’s often-terrible treatment of Asian performers and women of a certain age. “When I first came to Hollywood, it was a dream come true … until I (got) here,” she quipped, jokingly threatening to beat up producers if they tried to play her off with music before her speech was done. “Someone said to me: ‘You speak English?” … I said, ‘Yeah, the flight here was about 13 hours long, so I learned.’”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dHpDqn0nlK8'\n title='//www.youtube.com/embed/dHpDqn0nlK8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Producer/director Ryan Murphy, accepting the Carol Burnett award for TV achievement, used his acceptance speech to highlight LGBTQ performers he had worked with who had been pressured to hide their identities, like \u003cem>Pose\u003c/em> stars Michaela Jaé Rodriguez, Jeremy Pope and Billy Porter. “My mission was to take the invisible, the unloved, and make them the heroes I long to see but never did in pop culture,” he added.\u003c/p>\n\u003cp>Still, even with all these wonderful moments, there were too many great performances and projects by people of color left out — from movies like\u003cem> Till \u003c/em>and \u003cem>Nope\u003c/em> to TV shows like \u003cem>Reservation Dogs, Atlanta\u003c/em> and \u003cem>Pachinko\u003c/em>. Which left a feeling that the Globes have only just begun to make up for their past missed opportunities.\u003c/p>\n\u003ch3>Playing winners off with music during emotional acceptance speeches kills one of the biggest elements of the show.\u003c/h3>\n\u003cp>This is a mistake too many awards show producers make, including those at the Globes. Early in the night, Carmichael and a few presenters seemed to take their time, eating up precious minutes and throwing the show off schedule. This forces producers to curb the amount of time winners have for their speeches so they can end the show on time for the broadcast network — even during showcase moments like Yeoh’s long-awaited win, Spielberg’s acceptance of the best film drama award for \u003cem>The Fablemans \u003c/em>or Quinta Brunson’s win as best TV comedy for the show she created, \u003cem>Abbott Elementary\u003c/em>.\u003c/p>\n\u003cp>They even played off filmmakers trying to talk about the struggle for democracy in Argentina (\u003cem>Argentina, 85\u003c/em>).\u003c/p>\n\u003cp>Worse, the show had a pianist onscreen who was getting blamed for playing people off, but the music was pre-recorded and coming from the producers, as the pianist herself explained on Twitter.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Bottom line: emotional, eloquent acceptance speeches are what viewers love and what critics like me talk about the next day. Setting up a situation where you’re rushing big winners through their moment helps no one — especially the onscreen pianist unfairly blamed for the music.\u003c/p>\n\u003ch3>Making fun of weather emergencies is rarely wise\u003c/h3>\n\u003cp>Because some celebrities chose not to attend the Globes on principle — like nominee Brendan Fraser (\u003cem>The Whale\u003c/em>) — the show went out of its way to tell the audience when a celebrity wasn’t present because they were working or otherwise indisposed.\u003c/p>\n\u003cp>These announcements could lead to some suspicion and snark, including when Regina Hall made fun of the idea that inclement weather trapped \u003cem>Yellowstone\u003c/em> star Kevin Costner in Santa Barbara and kept him from accepting his award as best actor in a TV drama.\u003c/p>\n\u003cp>But Costner had released his own video on social media explaining that heavy rain had washed out the roads in his area and he truly had intended to attend the ceremony — which highlights the dangers of snarking before you know all the facts (and yes, I snarked too, until I saw Costner’s video).\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Even when his acceptance speech is just a few minutes long, Eddie Murphy knows how to bring down the house.\u003c/h3>\n\u003cp>To be honest, I was hoping Murphy would speak longer during his acceptance speech for the Cecil B. DeMille award — a lifetime achievement honor for one of the most influential comics in film or TV. But he offered a short, serious speech where he thanked family, friends and colleagues, before ending with three things he said were the key to success and happiness in Hollywood.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/agwQGhsS1qw'\n title='//www.youtube.com/embed/agwQGhsS1qw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Pay your taxes. Mind your business. And keep Will Smith’s wife’s name out your mother f—ing mouth!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now that’s the kind of in-your-face, irreverent funny bit that the Golden Globes could have used a lot more of.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Golden+Globes+had+a+lot+to+prove+%E2%80%94+and+still+have+a+long+way+to+go&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dr. Artel Great’s first exposure to the Museum of the African Diaspora came from a film. The scholar and filmmaker, who now teaches at San Francisco State in the school of cinema, spotted the institution in Barry Jenkins’ 2008 film \u003ci>Medicine for Melancholy\u003c/i> — it’s one of the many stops a Black couple makes in their slow, conversation-filled journey across San Francisco after a one-night stand.\u003c/p>\n\u003cp>“[Jenkins] shoots an entire sequence in MoAD,” Great recalls. “I remember encountering this film many, many years ago and being blown away not only by these Black characters who reminded me of people that I knew, but then they spent their time, you know, going to museums. And I’m like, ‘Wow, this is the first time that I can recall seeing people who I know or felt like I knew on the screen.’”\u003c/p>\n\u003cp>Now, in a sort of cosmic fulfillment of that moment, Great is \u003ca href=\"https://assets-global.website-files.com/62ea747d1e6f2d71e21babde/63b4641c5d6338d014e46e29_MoAD%20Cultural%20Critic%20in%20Residence_Announce.pdf\">MoAD’s first cultural critic-in-residence\u003c/a>. He knows that film can be a gateway to making all sorts of connections — personal connections, yes, but also to bigger ideas about history, politics, sports, fashion and economics. \u003c/p>\n\u003cp>To launch his residency at MoAD, Great has organized four weeks of virtual lectures titled “\u003ca href=\"https://www.moadsf.org/event/moads-cultural-critic-in-residence-dr-artel-great-presents-soul-cinema-1970s-black-film-and-culture\">SOUL CINEMA: 1970s Black Film and Culture\u003c/a>,” beginning Jan. 18, 7–8:30 p.m. One goal, Great says, is to expose audiences to some of the underappreciated films of the decade, which tends to be known as an era of Hollywood Blaxploitation movies and little else.\u003c/p>\n\u003cfigure id=\"attachment_13923577\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-126148754_1200.jpg\" alt=\"Black-and-white image of a white woman talking to a Black man in a subway car, people in background\" width=\"1200\" height=\"1479\" class=\"size-full wp-image-13923577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-126148754_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-126148754_1200-800x986.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-126148754_1200-1020x1257.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-126148754_1200-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-126148754_1200-768x947.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A promotional image from 1967’s ‘Dutchman,’ with actors Shirley Knight and Al Freeman Jr. \u003ccite>(Continental/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each lecture will use a film as a starting point for a larger conversation, beginning with the 1967 drama \u003ci>Dutchman\u003c/i> (an adaptation of Amiri Baraka’s play) and the Black Arts Movement. The series continues with lectures on \u003ci>Cooley High\u003c/i> (1975), \u003ci>Free Angela and All Political Prisoners\u003c/i> (a documentary from 2012) and \u003ci>Claudine\u003c/i> (1974). Great’s lectures will include clips, but he encourages participants to seek out the films and watch them ahead of time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And lest you think this will be a series of staid talks, with Great lecturing into the void of the internet, one need only look to his enthusiasm to get a sense of what’s in store. “This period is so compelling,” he says, “it really played, in my opinion, a vital role in shaping our current world and our current conditions in ways that we don’t recognize or think about.” He points to similarities between the ’70s and today, including a sense of political paranoia and a “deep, deep distrust of governmental politics.”\u003c/p>\n\u003cp>On top of that, he welcomes audience participation, saying, “That’s when the sparks fly.” During a lecture series he held at MoAD last year, both he and the museum noted the lively chat window, which he’s able to incorporate on the fly into his talk, facilitating a type of audience participation that’s so rare in virtual settings. At the end of each “SOUL CINEMA” session, there will also be a Q&A. \u003c/p>\n\u003cp>For Great, the MoAD residency is a welcome opportunity to step outside the bounds of academia. “Teaching in predominantly white institutions kind of incarcerates the knowledge that I have been building for so long,” he says, “and it precludes it from reaching the people who may be its intended audience.” \u003c/p>\n\u003cp>Other events planned for Great’s residency include a symposium tied to the publication of his first book, a collection of essays edited with Ed Guerrero titled \u003ci>Black Cinema & Visual Culture: Art and Politics in the 21st Century\u003c/i>. And he’s looking forward to bringing essay contributors, luminaries and “surprise artists” into conversation at the museum, all in service of his mission: to augment and amplify Black American and African diasporic histories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘SOUL CINEMA: 1970s Black Film and Culture’ takes place on Wednesdays, 7–8:30 p.m., Jan. 18–Feb. 8 via Zoom. Registration is required. \u003ca href=\"https://www.moadsf.org/event/moads-cultural-critic-in-residence-dr-artel-great-presents-soul-cinema-1970s-black-film-and-culture\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dr. Artel Great’s first exposure to the Museum of the African Diaspora came from a film. The scholar and filmmaker, who now teaches at San Francisco State in the school of cinema, spotted the institution in Barry Jenkins’ 2008 film \u003ci>Medicine for Melancholy\u003c/i> — it’s one of the many stops a Black couple makes in their slow, conversation-filled journey across San Francisco after a one-night stand.\u003c/p>\n\u003cp>“[Jenkins] shoots an entire sequence in MoAD,” Great recalls. “I remember encountering this film many, many years ago and being blown away not only by these Black characters who reminded me of people that I knew, but then they spent their time, you know, going to museums. And I’m like, ‘Wow, this is the first time that I can recall seeing people who I know or felt like I knew on the screen.’”\u003c/p>\n\u003cp>Now, in a sort of cosmic fulfillment of that moment, Great is \u003ca href=\"https://assets-global.website-files.com/62ea747d1e6f2d71e21babde/63b4641c5d6338d014e46e29_MoAD%20Cultural%20Critic%20in%20Residence_Announce.pdf\">MoAD’s first cultural critic-in-residence\u003c/a>. He knows that film can be a gateway to making all sorts of connections — personal connections, yes, but also to bigger ideas about history, politics, sports, fashion and economics. \u003c/p>\n\u003cp>To launch his residency at MoAD, Great has organized four weeks of virtual lectures titled “\u003ca href=\"https://www.moadsf.org/event/moads-cultural-critic-in-residence-dr-artel-great-presents-soul-cinema-1970s-black-film-and-culture\">SOUL CINEMA: 1970s Black Film and Culture\u003c/a>,” beginning Jan. 18, 7–8:30 p.m. One goal, Great says, is to expose audiences to some of the underappreciated films of the decade, which tends to be known as an era of Hollywood Blaxploitation movies and little else.\u003c/p>\n\u003cfigure id=\"attachment_13923577\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-126148754_1200.jpg\" alt=\"Black-and-white image of a white woman talking to a Black man in a subway car, people in background\" width=\"1200\" height=\"1479\" class=\"size-full wp-image-13923577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-126148754_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-126148754_1200-800x986.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-126148754_1200-1020x1257.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-126148754_1200-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-126148754_1200-768x947.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A promotional image from 1967’s ‘Dutchman,’ with actors Shirley Knight and Al Freeman Jr. \u003ccite>(Continental/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each lecture will use a film as a starting point for a larger conversation, beginning with the 1967 drama \u003ci>Dutchman\u003c/i> (an adaptation of Amiri Baraka’s play) and the Black Arts Movement. The series continues with lectures on \u003ci>Cooley High\u003c/i> (1975), \u003ci>Free Angela and All Political Prisoners\u003c/i> (a documentary from 2012) and \u003ci>Claudine\u003c/i> (1974). Great’s lectures will include clips, but he encourages participants to seek out the films and watch them ahead of time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And lest you think this will be a series of staid talks, with Great lecturing into the void of the internet, one need only look to his enthusiasm to get a sense of what’s in store. “This period is so compelling,” he says, “it really played, in my opinion, a vital role in shaping our current world and our current conditions in ways that we don’t recognize or think about.” He points to similarities between the ’70s and today, including a sense of political paranoia and a “deep, deep distrust of governmental politics.”\u003c/p>\n\u003cp>On top of that, he welcomes audience participation, saying, “That’s when the sparks fly.” During a lecture series he held at MoAD last year, both he and the museum noted the lively chat window, which he’s able to incorporate on the fly into his talk, facilitating a type of audience participation that’s so rare in virtual settings. At the end of each “SOUL CINEMA” session, there will also be a Q&A. \u003c/p>\n\u003cp>For Great, the MoAD residency is a welcome opportunity to step outside the bounds of academia. “Teaching in predominantly white institutions kind of incarcerates the knowledge that I have been building for so long,” he says, “and it precludes it from reaching the people who may be its intended audience.” \u003c/p>\n\u003cp>Other events planned for Great’s residency include a symposium tied to the publication of his first book, a collection of essays edited with Ed Guerrero titled \u003ci>Black Cinema & Visual Culture: Art and Politics in the 21st Century\u003c/i>. And he’s looking forward to bringing essay contributors, luminaries and “surprise artists” into conversation at the museum, all in service of his mission: to augment and amplify Black American and African diasporic histories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘SOUL CINEMA: 1970s Black Film and Culture’ takes place on Wednesdays, 7–8:30 p.m., Jan. 18–Feb. 8 via Zoom. Registration is required. \u003ca href=\"https://www.moadsf.org/event/moads-cultural-critic-in-residence-dr-artel-great-presents-soul-cinema-1970s-black-film-and-culture\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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